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。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[7,23,28,27,59,60,61,62,63,64,65],"美人","鹤","狗","花","衣帽","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米",[44,45],15398,116,{"id":73,"slug":74,"title":75,"dynasty":76,"author":77,"museum":78,"description":79,"tags":80,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":92,"zanCount":93,"manualWeight":48,"mainColor":94},214707,"chun-hua-tu-ba-kai-yun-shou-ping-214707","春花图八开","清","恽寿平","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[7,23,24,81,27,82,83,84,85,86],"册","没骨","花鸟","花卉","鸢尾","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa759adc318004a833d99020a6068e6.jpg","纸本,设色","26.3x35.7","花鸟画精选",[90],14420,63,"BDBDBD",{"id":96,"slug":97,"title":98,"dynasty":99,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":122,"material":123,"size":124,"collection":44,"collections":125,"showCount":126,"zanCount":127,"manualWeight":48,"mainColor":49},217887,"qing-ming-shang-he-tu-chou-ying-217887","清明上河图","明","仇英","美国大都会艺术博物馆","此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。",[7,23,25,28,27,104,105,106,107,108,109,34,110,111,112,113,114,115,116,117,118,119,120,121],"界画","临摹","人物","楼阁","小桥","流水","商铺","船只","街市","车马","建筑","庭院","行人","市集","舟楫","道路","市井","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102b4f88d7b2d81f25208305d2123fef.jpg","绢本,设色","29.2x645.2cm",[44,45],11185,132,{"id":129,"slug":130,"title":131,"dynasty":76,"author":77,"museum":132,"description":133,"tags":134,"thumbUrl":138,"material":88,"size":139,"collection":90,"collections":140,"showCount":141,"zanCount":142,"manualWeight":48,"mainColor":94},214744,"hua-hui-ce-yun-shou-ping-214744","花卉册","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[7,23,24,81,83,82,27,135,136,137],"紫藤","荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab73f6dce929392ea6f25d5a923c813e.jpg","",[90],10967,60,{"id":144,"slug":145,"title":98,"dynasty":18,"author":146,"museum":20,"description":147,"tags":148,"thumbUrl":159,"material":160,"size":161,"collection":42,"collections":162,"showCount":164,"zanCount":165,"manualWeight":48,"mainColor":49},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","张择端","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[7,23,24,25,104,28,27,106,107,108,109,149,150,151,34,112,152,36,153,154,31,155,156,116,157,35,119,158],"船","马","牛","店铺","城墙","车","码头","货船","商贩","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[42,163],"水墨画精选",8462,106,{"id":167,"slug":168,"title":169,"dynasty":99,"author":170,"museum":78,"description":171,"tags":172,"thumbUrl":179,"material":88,"size":180,"collection":181,"collections":182,"showCount":183,"zanCount":184,"manualWeight":48,"mainColor":94},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","沈周","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[7,23,24,25,173,27,29,108,109,174,175,34,176,35,177,86,178],"水墨","孤舟","亭","山石","皴法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","31.6x348","山水画精选",[181],7463,45,{"id":186,"slug":187,"title":188,"dynasty":189,"author":190,"museum":191,"description":192,"tags":193,"thumbUrl":195,"material":67,"size":196,"collection":181,"collections":197,"showCount":198,"zanCount":199,"manualWeight":48,"mainColor":94},220765,"fu-chun-shan-ju-tu-sheng-shan-tu-huang-gong-wang-220765","富春山居图-剩山图","元","黄公望","浙江省博物馆","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[7,23,24,25,173,177,29,34,30,31,194],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a787b3411565c7d5dc5dd29005c0c6.jpg","横51.4公分，高31.8公分",[181,45],6110,22,{"id":201,"slug":202,"title":203,"dynasty":204,"author":205,"museum":206,"description":207,"tags":208,"thumbUrl":212,"material":123,"size":213,"collection":44,"collections":214,"showCount":215,"zanCount":216,"manualWeight":48,"mainColor":94},216930,"han-xi-zai-ye-yan-tu-gu-hong-zhong-216930","韩熙载夜宴图","五代十国","顾闳中","台北故宫博物院","他出生于江南，在南唐时担任元宗父子的御史，与周文儒同时。据传说，韩熙载是一个很好的声乐表演者，他是夜里喝酒的特殊客人。后者想看看台阶灯、台阶蜡烛和摇曳的筹码，所以他命令马德在晚上监视他，上面画的就是这幅画。这是人物画的最后一部分，只有八个人物，没有任何痕迹，这幅画非常古老，虽然不是顾雏军的原作，但可能是很早的一个大师的摹本。",[7,23,209,25,28,27,106,59,63,210,211],"名画","乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3e16a6989ea7dc1166ef8b9300366.jpg","27.9x69",[44],6027,25,{"id":218,"slug":219,"title":220,"dynasty":76,"author":221,"museum":222,"description":223,"tags":224,"thumbUrl":230,"material":123,"size":231,"collection":44,"collections":232,"showCount":233,"zanCount":234,"manualWeight":48,"mainColor":49},214875,"gui-fei-chu-yu-tu-gu-jian-long-214875","贵妃出浴图","顾见龙","美国克利夫兰艺术博物馆","该图描绘了杨贵妃沐浴的情景，她赤身裸体，身披绣花红纱，身体半遮半掩，有古画人体的失落感，腿长，三寸金莲。戒指上有湖泊、石头和竹子以及红色的窗帘等奢侈的装饰，表示皇室和财富。画笔和颜料很重但不浑浊，金泥的中间轮廓很独特。",[7,209,23,24,225,28,27,106,59,226,227,228,63,229],"立轴","竹","荷","器","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39bc5a717a934b272fce5bd0a4f3c219.jpg","96.5x44.1",[44],5763,38,{"id":236,"slug":237,"title":238,"dynasty":54,"author":239,"museum":240,"description":241,"tags":242,"thumbUrl":249,"material":250,"size":251,"collection":44,"collections":252,"showCount":253,"zanCount":254,"manualWeight":48,"mainColor":255},223367,"ba-shi-qi-shen-xian-juan-wu-dao-zi-223367","八十七神仙卷","吴道子","徐悲鸿纪念馆","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[7,23,24,25,243,244,106,107,245,246,247,248],"宗教","白描","祥云","飘带","仪仗","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de302348f3ee25a5f65f77fe3cfccd0.jpg","绢本白描","30x290cm",[44],5500,51,"F48FB1",{"id":257,"slug":258,"title":259,"dynasty":99,"author":100,"museum":260,"description":261,"tags":262,"thumbUrl":267,"material":268,"size":269,"collection":181,"collections":270,"showCount":271,"zanCount":272,"manualWeight":48,"mainColor":49},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[7,209,23,24,25,26,27,28,177,263,29,264,106,107,108,109,174,175,34,265,266],"印章","桃花","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 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角有「金陵徐熙」款，疑是伪添的。按徐熙（约活动于西元十世纪初）钟陵（南京）人，为南唐著名的花鸟画家，画史记载他长于以墨写枝叶蕊萼，然后上色称落墨花，独具风格。",[7,23,24,225,28,27,83,369,370,371],"牡丹","鸟","玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11594ba216d09de7efa721c87d10457a.jpg","112.5x38.3cm",[90],3262,47,{"id":378,"slug":379,"title":380,"dynasty":76,"author":381,"museum":311,"description":382,"tags":383,"thumbUrl":388,"material":123,"size":389,"collection":90,"collections":390,"showCount":391,"zanCount":392,"manualWeight":48,"mainColor":49},214520,"bai-niao-chao-feng-tu-shen-quan-214520","百鸟朝凤图","沈铨","这幅画卷展现了四季变化的景象，近300只禽鸟，百余棵树，四季花开；百鸟聚于天，百花开于地，展现了一个详和的世界。以其绚丽的色彩和宏伟的气势成为国宝。",[7,209,23,25,28,27,266,384,385,386,60,297,387,83],"树","石","花草","凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215a89f195a9b633e6a40c7f1827f807.jpg","45x1600",[90],3111,27,{"id":394,"slug":395,"title":396,"dynasty":99,"author":397,"museum":20,"description":398,"tags":399,"thumbUrl":408,"material":409,"size":410,"collection":90,"collections":411,"showCount":412,"zanCount":413,"manualWeight":48,"mainColor":49},214539,"si-shi-hua-hui-tu-xu-wei-214539","四时花卉图","徐渭","长卷以大写意方式绘牡丹、芍药、葡萄、芭蕉，以兼工带写绘桂花叶和松树，以烘托方式绘竹子、岩石和雪中梅花。从画卷末尾的自述中可以看出，艺术家是用物品来表达她胸中的郁闷。该卷的风格简洁明了，风格轻快，不急不躁。",[7,23,173,400,401,25,24,86,178,402,226,403,227,369,404,264,405,84,406,407],"写意","大写意","梅","松","芙蓉","水仙","兰","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b359a71dcaf3445be4bdab0f5d74d69.jpg","纸本,水墨","29.9x1081.7",[90],3030,18,{"id":415,"slug":416,"title":417,"dynasty":18,"author":418,"museum":260,"description":419,"tags":420,"thumbUrl":421,"material":422,"size":423,"collection":42,"collections":424,"showCount":425,"zanCount":426,"manualWeight":48,"mainColor":49},221330,"mo-zhang-xuan-dao-lian-tu-zhao-ji-221330","摹张萱捣练图","赵佶","卷中绘唐装仕女、女仆、女童十二人，依次为捣练、圈线、缝衣、熨练的情景。人物姿态雍容，线描挺劲，赋色浓丽。画中无款识，前隔水细花黄绫上有金章宗完颜璟仿徽宗瘦金体书题「天水摹张萱捣练图」。\n卷后有明初张绅、清高士奇、近人罗文彬题跋。画卷上分钤金章宗明昌七玺，清高士奇、金望乔等鉴藏印。《江村书画目》《大观录》《墨缘汇观续录》著录。\n「天水」为赵氏郡望，历来将此作系于宋徽宗赵佶名下，但丛用笔赋色的细腻精巧等特征来看，应出自宣和画院画家之手，不是徽宗亲笔。此图虽系摹本，但结合传世的如《挥扇仕女图》等唐人作品考察，可推知应为比较忠实的摹古之作，保留了十分珍贵的唐代绘画资料。特别是在张萱原作不存的情况下，我们据此可以探究张萱的绘画风貌。",[7,23,24,25,28,27,106,59,105,65,63,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ccfee95d303f5ca82b607f6c92ef6.jpg","扇面画","纵：37厘米，横：145.3厘米",[42,44,45],2907,23,{"id":428,"slug":429,"title":430,"dynasty":76,"author":278,"museum":20,"description":431,"tags":432,"thumbUrl":437,"material":123,"size":438,"collection":44,"collections":439,"showCount":440,"zanCount":441,"manualWeight":48,"mainColor":94},214261,"yong-zheng-di-xing-le-tu-yi-ming-214261","雍正帝行乐图","雍正帝行乐图是一幅作者不详的清代画作。这幅画作描绘了雍正帝在行乐时的场景。\n\n在这幅画作中，画家巧妙地捕捉了雍正帝在行乐时的气质。他用浓墨重彩的画法，勾勒出了雍正帝的容貌。他还用细腻的线条勾勒出了雍正帝的衣着和配饰，让人感受到了雍正帝的尊贵气质。\n\n此外，画家在这幅画作中还描绘了雍正帝行乐时的场景。他用色彩丰富的画法，描绘了雍正帝行乐时的景象。这些景色与雍正帝的尊贵气质形成了鲜明的对比，让人感受到了雍正帝在行乐时的辉煌景象。",[7,23,27,28,106,433,29,434,435,37,436],"龙","悬崖","波浪","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fd4e631a84421cc17c1546ad52fc90.jpg","34.9x31",[44],2811,8,{"id":443,"slug":444,"title":445,"dynasty":18,"author":446,"museum":447,"description":448,"tags":449,"thumbUrl":453,"material":123,"size":454,"collection":90,"collections":455,"showCount":456,"zanCount":216,"manualWeight":48,"mainColor":49},219009,"bai-he-tu-er-mi-fei-219009","白鹤图(二)","米芾","大英博物馆","白鹤振翅翩跹，白羽细笔晕染，层叠如霰，纹理分明若鳞；墨羽劲挺若锋，浓淡相间见层次。丹顶一点艳绝，长颈曲转，喙微垂，神态悠然。墨线勾勒的长腿矫健，爪尖似扣虚空，似将踏水而落。左下角虬枝盘曲，苔痕隐现，淡墨涟漪轻漾，衬得鹤影清逸。绢本底色古雅，笔墨细腻处藏灵动，简淡间蕴生机，动静相济，尽显禽鸟之姿与自然清趣。",[7,23,24,209,225,28,27,450,266,451,452],"白鹤","枯木","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85286d792591c1fa8b6e849da1c7fd76.jpg","132.5x61.5cm",[90,42,45],2668,{"id":458,"slug":459,"title":460,"dynasty":18,"author":461,"museum":206,"description":462,"tags":463,"thumbUrl":476,"material":67,"size":477,"collection":42,"collections":478,"showCount":479,"zanCount":480,"manualWeight":48,"mainColor":49},221389,"xi-shan-xing-lv-tu-fan-kuan-221389","溪山行旅图","范宽","该画作描绘的是典型的北国景色，树叶间有“范宽”二字题款。图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。山阴道中，从右至左行来一队旅客，四头骡马载着货物正艰难地跋涉着。",[7,23,464,225,177,465,29,176,466,34,467,468,108,37,469,470,471,472,473,474,475],"水墨画","雨点皴","瀑布","行旅","溪流","山路","驮队","雾气","巨峰","丛林","涧水","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7fc9271bce677ed74b29dfb9421e4d.jpg","纵206.3厘米，横103.3厘米",[42,181,163],2630,15,{"id":482,"slug":483,"title":484,"dynasty":54,"author":485,"museum":486,"description":487,"tags":488,"thumbUrl":489,"material":123,"size":490,"collection":44,"collections":491,"showCount":492,"zanCount":392,"manualWeight":48,"mainColor":94},214574,"li-dai-di-wang-tu-yan-li-ben-214574","历代帝王图","阎立本","波士顿美术馆","本卷绘十三位帝王：前汉昭帝、汉光武帝、魏文帝曹丕、吴主孙权、蜀主刘备、晋武帝司马炎、陈宣帝陈顼、陈文帝陈蒨、陈废帝陈伯宗、陈后主陈叔宝、北周武帝宇文邕、隋文帝杨坚、隋炀帝杨广。整个卷轴共有四十六个人物。\n线条强而有力，色彩厚重，具有很高的艺术水准。通过细节，画家表达了皇帝们的内心世界和经历，用画笔表达了有爱有恨的故事。这幅画在色彩的使用和人物服装的处理上受到了佛教艺术的影响。",[7,23,24,25,27,106,28,263,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb3ca2dbf330c36c9516b2bb0dec8242.jpg","51.3 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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[7,23,27,28,104,106,107,29,264,34,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","纵188.2厘米，横102.2厘米",[90,45],1764,{"id":728,"slug":729,"title":730,"dynasty":189,"author":731,"museum":20,"description":732,"tags":733,"thumbUrl":738,"material":40,"size":739,"collection":181,"collections":740,"showCount":741,"zanCount":628,"manualWeight":48,"mainColor":49},221795,"chun-shan-tu-juan-shang-qi-221795","春山图卷","商琦","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[7,23,209,24,25,27,177,29,734,282,34,37,558,735,736,737],"山","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","纵39.6厘米，横214.5厘米",[181,45],1751,{"id":743,"slug":744,"title":745,"dynasty":18,"author":746,"museum":101,"description":747,"tags":748,"thumbUrl":749,"material":699,"size":750,"collection":42,"collections":751,"showCount":752,"zanCount":628,"manualWeight":48,"mainColor":49},220341,"mo-zhu-tu-su-shi-220341","墨竹图","苏轼","自苏轼而至元四家，墨竹之风大兴，竹常被文人高士用以表现清高拔俗的情趣，有正直的气节、虚心的品质和纯洁的思想感情，因此墨竹成了书、画、道的综合体，成了人格、人品的写照，寓意兴寄愈益丰厚。此作笔法谨严有致，具潇洒神态。",[7,23,173,226,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c9dbb225579521686a0829aa7646b7.jpg","54.3x33厘米",[42],1694,{"id":754,"slug":755,"title":756,"dynasty":76,"author":77,"museum":78,"description":79,"tags":757,"thumbUrl":760,"material":88,"size":89,"collection":139,"collections":761,"showCount":762,"zanCount":628,"manualWeight":48,"mainColor":94},214704,"chun-hua-tu-ba-kai-2-yun-shou-ping-214704","春花图八开-2",[7,23,24,81,27,82,83,758,759,86,263],"樱桃","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6677b01b31ad3df8b7719f1993dc4829.jpg",[],1639,{"id":764,"slug":765,"title":766,"dynasty":189,"author":767,"museum":78,"description":768,"tags":769,"thumbUrl":771,"material":699,"size":772,"collection":181,"collections":773,"showCount":774,"zanCount":628,"manualWeight":48,"mainColor":94},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","王蒙","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[7,23,24,173,177,225,29,176,466,34,770,468,37,263,86,178],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纵141厘米，横42.2厘米",[181,163],1622,{"id":776,"slug":777,"title":309,"dynasty":76,"author":778,"museum":20,"description":779,"tags":780,"thumbUrl":785,"material":699,"size":786,"collection":139,"collections":787,"showCount":788,"zanCount":413,"manualWeight":48,"mainColor":94},223241,"he-hua-tu-wu-ying-zhen-223241","吴应贞","《荷花图》是一幅表现池塘风和日丽景色的写实画，作者没有刻意地描绘水，而是通过惬意于荷花丛中的鱼儿，将一池清水巧妙地暗示了出来。作者又通过鱼儿若聚若离、或远或近的交错游动，巧妙地扩展了画面的深远空间。画中所绘荷花绰然俏丽，花、叶敷色艳丽而不浓腻，工致的晕染，旨在追求花、叶含水带露的润泽、鲜灵与生动，清逸秀爽的笔墨则写出了“出淤泥而不染”的荷花品格。",[7,23,28,27,83,136,137,781,782,783,784],"莲蓬","蜜蜂","鱼","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176f9dbe89816a1b32c18086be591086.jpg","纵130cm，横58.5cm",[],1591,{"id":790,"slug":791,"title":792,"dynasty":18,"author":446,"museum":447,"description":793,"tags":794,"thumbUrl":796,"material":123,"size":454,"collection":90,"collections":797,"showCount":798,"zanCount":565,"manualWeight":48,"mainColor":49},219012,"bai-he-tu-yi-mi-fei-219012","白鹤图(一)","画中仙鹤身姿卓然，长颈引向云端，喙尖轻启似欲鸣。白羽如霜，纹理细若鳞次；黑尾如墨，羽梢微扬带风致。修长鹤腿立于浅草间，与几丛翠竹叶相映成趣。右上角圆月朦胧，棕褐绢底衬得画面清寂雅致。笔墨间藏着文人的疏淡意趣，每一处细节都透着对自然生灵的细腻体察，仿佛能闻见竹林间的清风，看见月光下仙鹤独立的悠然之态，尽显古典绘画的空灵韵致。",[7,209,23,24,225,28,27,83,60,226,795],"月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75d2711fede74296897913b73c08612b.jpg",[90,45],1575,{"id":800,"slug":801,"title":802,"dynasty":76,"author":803,"museum":20,"description":804,"tags":805,"thumbUrl":809,"material":88,"size":810,"collection":90,"collections":811,"showCount":812,"zanCount":652,"manualWeight":48,"mainColor":94},219289,"ba-jiao-li-mao-tu-zhou-ren-yi-219289","芭蕉狸猫图轴","任颐","图绘芭蕉、狸猫。芭蕉叶以浓墨中锋勾勒轮廓，线条圆润流畅，富有表现力。叶面以饱含水份的花青、石绿、明黄等色晕染，色与水自然的交融，显现出丰富的深浅色调的变化，将叶片鲜活的物性表现得淋漓尽致。图中的猫儿没有繁琐的细节刻画，仅以寥寥数笔便点染出它们在静止状态下专注的神态和嬉戏顽皮时撕咬的动态，由此可见作者敏锐的观察力、坚实的素描基础和娴熟的笔墨造型能力。",[7,23,225,27,28,806,807,229,808,83],"芭蕉","猫","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f12e097eb2a6d1ebd860110d117c7a.jpg","纵181.4厘米，横94.8厘米",[90,45],1568,{"id":814,"slug":815,"title":816,"dynasty":99,"author":817,"museum":101,"description":818,"tags":819,"thumbUrl":820,"material":527,"size":821,"collection":90,"collections":822,"showCount":823,"zanCount":565,"manualWeight":48,"mainColor":94},222001,"bai-yu-lan-tu-juan-wen-zheng-ming-222001","白玉兰图卷","文徴明","公元1549年，即明嘉靖二十八年，这一年三月的一天，春光明媚，80岁的文徵明在家中庭院闲来无事，忽见亲手种植的白玉兰开花了，欣喜之余，他吟诗作画，忙得不亦乐乎",[7,23,86,83,84,27,400,25,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15168a94a1e8cc14d5c9e9defbc85cb.jpg","27.9×133",[90,45],1562,{"id":825,"slug":826,"title":827,"dynasty":99,"author":170,"museum":206,"description":828,"tags":829,"thumbUrl":830,"material":712,"size":831,"collection":181,"collections":832,"showCount":833,"zanCount":413,"manualWeight":48,"mainColor":49},222104,"lu-shan-gao-tu-shen-zhou-222104","庐山高图","此图描绘的是庐山的景象，画中有白云、杂树、石阶、小路以及人物等。这幅图在技法上借鉴元代画家王蒙的笔意，笔法稳健，气势雄沉，具有强烈的节奏感和力量感。山峰多用解索皴，皴染厚重灵动；中段山峦则用折带皴，皴笔精细，墨色较淡，表现出崖壁的险峻。左边崖壁先匀后皴，墨色较重，并以焦墨密点，显得苍郁幽深。",[7,23,29,173,177,225,734,466,109,384,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","纵193.8 公分，横98.1 公分",[181,163],1546,{"id":835,"slug":836,"title":837,"dynasty":76,"author":77,"museum":20,"description":838,"tags":839,"thumbUrl":840,"material":841,"size":842,"collection":90,"collections":843,"showCount":844,"zanCount":5,"manualWeight":48,"mainColor":94},220975,"shan-shui-hua-hui-tu-ce-mu-dan-yun-shou-ping-220975","山水花卉图册-牡丹","《山水花鸟图》是清代 创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[7,23,209,24,81,27,28,82,83,369,607,658,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[90,45],1541,{"id":846,"slug":847,"title":848,"dynasty":18,"author":849,"museum":206,"description":850,"tags":851,"thumbUrl":854,"material":123,"size":855,"collection":42,"collections":856,"showCount":844,"zanCount":857,"manualWeight":48,"mainColor":94},216083,"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[7,209,23,24,28,27,83,852,62,853,658],"秋葵","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","25x28cm",[42,90],10,{"id":859,"slug":860,"title":861,"dynasty":99,"author":862,"museum":583,"description":863,"tags":864,"thumbUrl":868,"material":841,"size":869,"collection":139,"collections":870,"showCount":871,"zanCount":652,"manualWeight":48,"mainColor":255},222601,"qiu-shan-yu-yin-tu-lan-ying-222601","秋山渔隐图","蓝瑛","绘乡间田园景色，远处山峰高耸，山脚下农舍排列整齐，栅栏四周树木环绕；近处河面上二只棚船停泊，船尾两人对坐而谈；岸上古木黝黑挺直，深秋季节中树叶凋零。纵观整幅，山水人家，古木船只，皆赋诗情画意。",[7,23,27,29,177,865,866,174,106,176,35,109,867,229],"枯树","老树","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc1ad696df861ebcdfbf4523c6d8135.jpg","139.5x45cm",[],1533,{"id":873,"slug":874,"title":875,"dynasty":99,"author":100,"museum":583,"description":876,"tags":877,"thumbUrl":879,"material":637,"size":880,"collection":181,"collections":881,"showCount":871,"zanCount":480,"manualWeight":48,"mainColor":49},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[7,23,24,225,26,27,28,29,106,107,108,34,176,37,114,38,557,468,878],"仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","纵175厘米，横66.7厘米",[181,45],{"id":883,"slug":884,"title":885,"dynasty":18,"author":886,"museum":486,"description":887,"tags":888,"thumbUrl":890,"material":699,"size":891,"collection":42,"collections":892,"showCount":893,"zanCount":591,"manualWeight":48,"mainColor":49},221457,"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","陈容","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[7,209,23,24,25,173,86,263,400,889,433,37,282],"渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[42,90,163],1532,{"id":895,"slug":896,"title":897,"dynasty":204,"author":366,"museum":311,"description":898,"tags":899,"thumbUrl":900,"material":901,"size":902,"collection":42,"collections":903,"showCount":893,"zanCount":904,"manualWeight":48,"mainColor":49},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[7,209,23,24,25,28,27,83,402,266,370,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[42,90,45],29,{"id":906,"slug":907,"title":908,"dynasty":18,"author":418,"museum":20,"description":909,"tags":910,"thumbUrl":913,"material":699,"size":914,"collection":328,"collections":915,"showCount":916,"zanCount":565,"manualWeight":48,"mainColor":94},219053,"xia-ri-shi-tie-zhao-ji-219053","夏日诗帖","此诗帖的瘦金体笔势遒劲，伟岸开张，体现了赵佶的独特风格。",[7,86,621,622,911,227,912,263],"瘦金体","夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371add8168f2bcda13f942087497018e.jpg","33.7厘米×44.2厘米",[328],1531,{"id":918,"slug":919,"title":920,"dynasty":189,"author":921,"museum":78,"description":922,"tags":923,"thumbUrl":929,"material":123,"size":139,"collection":90,"collections":930,"showCount":931,"zanCount":216,"manualWeight":48,"mainColor":49},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","任仁发","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[7,23,28,27,83,266,924,925,229,692,926,927,452,928],"水禽","鸭子","树枝","花叶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg",[90],1515,{"id":933,"slug":934,"title":935,"dynasty":99,"author":936,"museum":132,"description":937,"tags":938,"thumbUrl":941,"material":123,"size":942,"collection":90,"collections":943,"showCount":944,"zanCount":684,"manualWeight":48,"mainColor":94},220230,"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[7,939,23,24,81,27,28,83,264,512,84,940],"明代","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","21.5×16cm",[90],1477,{"id":946,"slug":947,"title":948,"dynasty":949,"author":950,"museum":20,"description":951,"tags":952,"thumbUrl":955,"material":88,"size":956,"collection":90,"collections":957,"showCount":958,"zanCount":857,"manualWeight":48,"mainColor":94},216935,"hua-die-tu-zhou-qi-bai-shi-216935","花蝶图轴","民国","齐白石","画面以泼洒的蓝彩点染花朵，墨色线条勾勒叶片，苍劲中透着灵动。几株蓝花亭亭而立，叶片舒展如剑，与轻盈的花瓣相映成趣。花丛间，一只螳螂敛足欲动，姿态警觉；空中蝴蝶振翅，飞虫轻舞，小生灵的动态被捕捉得活灵活现。右上角题字与朱印相映，平衡构图之余更添文人意趣。整幅画作将自然生机与笔墨意趣相融，草虫的鲜活与花卉的雅致交织，尽显对生活细微之美的敏锐感知与精湛表现力。",[7,23,27,173,83,225,62,953,954,940,607],"蝶","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1010a81c5646f35a6bf665ff905dca.jpg","103x41.3cm",[90],1472,{"id":960,"slug":961,"title":962,"dynasty":76,"author":963,"museum":447,"description":964,"tags":965,"thumbUrl":968,"material":88,"size":969,"collection":181,"collections":970,"showCount":971,"zanCount":972,"manualWeight":48,"mainColor":94},214892,"shan-shui-tu-ce-shi-tao-214892","山水图册","石涛","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[7,23,173,177,81,29,107,34,966,967,263],"远岫","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc4335799b8ab6338748c15eda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在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[7,28,27,25,1126,150,34,31,1003,106,1127,29,1128,468],"中西合璧","帐篷","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","纵102厘米，横813厘米",[90,45],1291,{"id":1134,"slug":1135,"title":1136,"dynasty":18,"author":1137,"museum":20,"description":1138,"tags":1139,"thumbUrl":1141,"material":1142,"size":1143,"collection":42,"collections":1144,"showCount":1145,"zanCount":413,"manualWeight":48,"mainColor":49},221559,"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[7,209,23,24,28,27,81,83,1140,266,263],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 ，设色","纵26.9cm，横27.2cm",[42,90,45],1282,{"id":1147,"slug":1148,"title":1149,"dynasty":99,"author":1150,"museum":132,"description":1151,"tags":1152,"thumbUrl":1154,"material":123,"size":139,"collection":90,"collections":1155,"showCount":1156,"zanCount":361,"manualWeight":48,"mainColor":94},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[7,23,81,27,28,263,86,178,83,402,406,407,227,264,369,1153,229,928],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[90],1280,{"id":1158,"slug":1159,"title":1160,"dynasty":18,"author":278,"museum":20,"description":1161,"tags":1162,"thumbUrl":1164,"material":123,"size":1165,"collection":42,"collections":1166,"showCount":1167,"zanCount":857,"manualWeight":48,"mainColor":94},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[7,23,24,25,105,244,27,28,86,178,1163,263,106,59,29,174,107,109,34],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[42],1270,{"id":1169,"slug":1170,"title":1171,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1172,"thumbUrl":1174,"material":88,"size":89,"collection":139,"collections":1175,"showCount":1176,"zanCount":857,"manualWeight":48,"mainColor":94},214702,"chun-hua-tu-ba-kai-7-yun-shou-ping-214702","春花图八开-7",[7,23,24,81,82,27,83,989,1173,263],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389e1ac2ceb12e7d4b9e1c738856ee3.jpg",[],1232,{"id":1178,"slug":1179,"title":1180,"dynasty":76,"author":77,"museum":132,"description":133,"tags":1181,"thumbUrl":1183,"material":88,"size":139,"collection":139,"collections":1184,"showCount":1185,"zanCount":1009,"manualWeight":48,"mainColor":94},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6",[7,23,24,209,81,82,27,83,84,283,28,1182,173],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg",[],1228,{"id":1187,"slug":1188,"title":1189,"dynasty":949,"author":1190,"museum":1191,"description":1192,"tags":1193,"thumbUrl":1195,"material":302,"size":139,"collection":1196,"collections":1197,"showCount":1198,"zanCount":413,"manualWeight":48,"mainColor":94},220450,"lian-chi-lin-yu-shan-220450","莲池","林玉山","国立台湾美术馆","这幅《莲池》是民国画家林玉山的工笔花鸟佳作，可从以下几方面鉴赏：\n\n一、技法表现：工笔精谨，写实入微\n林玉山擅长工笔重彩，这幅画以精细工笔技法刻画物象：荷叶的脉络、荷花的瓣层、白鹭的羽毛都被细腻勾勒，线条匀净流畅，尽显工笔“精工细作”的特质；同时融入写实观察，让荷花、荷叶的形态、白鹭的动态都极具自然真实感，体现他“写生入画”的创作理念。\n\n二、构图布局：疏密有致，动静相生\n画面布局繁而不乱：大片荷叶荷花层层叠叠，疏密、虚实对比鲜明；左下角的白鹭成为视觉焦点，以其灵动姿态打破静态莲池的沉寂，形成“静（莲荷）动（白鹭）相生”的节奏，让画面既有满幅的丰富感，又有视觉的呼吸感。\n\n三、色彩格调：典雅和谐，层次丰盈\n采用工笔重彩设色法，背景的暖棕色调与荷叶的蓝绿色调形成雅致对比，荷花的粉白、白鹭的素净又在色彩层次中穿插呼应，既保留了传统工笔的富丽感，又通过色调调和营造出莲池清幽朦胧的氛围，尽显色彩的抒情性。\n\n四、意境与风格：传统意趣与现代写实的融合\n画面营造出“清幽雅致”的田园意境，莲池的静谧、白鹭的灵动，传递出自然生机与文人式的闲逸情致。同时，林玉山将西方写实技法融入传统工笔，既延续了中国花鸟画的装饰美感与意境追求，又以写实观察赋予物象鲜活生命力，是民国时期“传统笔墨现代化”的典型探索，展现了他在工笔花鸟领域“古今融合、中西通汇”的独特风格。\n\n综上，这幅《莲池》以精湛工笔、精妙构图、典雅色彩，勾勒出诗意莲池的生动图景，既是林玉山个人艺术风格的凝练，也折射出民国时期传统绘画在现代转型中的探索与成就。",[7,23,24,28,27,83,136,137,1194,282],"白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ee7c758c3a5d09e9063bab49500b45.jpg","花鸟精选",[1196],1224,{"id":1200,"slug":1201,"title":1202,"dynasty":54,"author":55,"museum":20,"description":1203,"tags":1204,"thumbUrl":1206,"material":1207,"size":1208,"collection":139,"collections":1209,"showCount":1210,"zanCount":611,"manualWeight":48,"mainColor":49},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[7,23,24,25,28,27,106,1205,59,263,63,228],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 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；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[7,23,27,29,177,225,1322,108,109,770,176,34,263],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[181,45],1069,{"id":1328,"slug":1329,"title":1330,"dynasty":189,"author":278,"museum":20,"description":1331,"tags":1332,"thumbUrl":1333,"material":327,"size":1334,"collection":90,"collections":1335,"showCount":1336,"zanCount":1337,"manualWeight":48,"mainColor":49},214260,"zhu-shi-tu-yi-ming-214260","竹石图","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[7,23,209,24,225,173,226,229,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","138x79",[90],1055,2,{"id":1339,"slug":1340,"title":1341,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1342,"thumbUrl":1343,"material":88,"size":89,"collection":139,"collections":1344,"showCount":1345,"zanCount":972,"manualWeight":48,"mainColor":94},214706,"chun-hua-tu-ba-kai-6-yun-shou-ping-214706","春花图八开-6",[7,23,24,209,81,82,27,83,62,853,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a989ce46045ab5e8868995eea818ba.jpg",[],1054,{"id":1347,"slug":1348,"title":1349,"dynasty":18,"author":1137,"museum":206,"description":1350,"tags":1351,"thumbUrl":1354,"material":123,"size":1355,"collection":90,"collections":1356,"showCount":1357,"zanCount":480,"manualWeight":48,"mainColor":94},218892,"xie-sheng-hai-tang-tu-lin-chun-218892","写生海棠图","这幅画表现的是开花或含苞待放的海棠的一个单枝。花朵的颜色是白色粉末，带有一丝腮红，使它们变得精致而漂亮。",[7,23,24,1352,28,27,83,1353,607],"扇面","海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6ee140dbb46294f76dd28443ed475a.jpg","23.4x24",[90],1048,{"id":1359,"slug":1360,"title":1361,"dynasty":99,"author":1362,"museum":206,"description":1363,"tags":1364,"thumbUrl":1366,"material":88,"size":1367,"collection":181,"collections":1368,"showCount":1369,"zanCount":652,"manualWeight":48,"mainColor":94},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[7,23,24,225,27,28,178,29,106,1365,108,109,263,176,34],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[181],1044,{"id":1371,"slug":1372,"title":1373,"dynasty":99,"author":170,"museum":206,"description":1374,"tags":1375,"thumbUrl":1376,"material":88,"size":1377,"collection":90,"collections":1378,"showCount":1379,"zanCount":1314,"manualWeight":48,"mainColor":94},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[7,23,24,225,27,83,402,228,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[90],1021,{"id":1381,"slug":1382,"title":1383,"dynasty":189,"author":1384,"museum":206,"description":1385,"tags":1386,"thumbUrl":1387,"material":712,"size":1388,"collection":90,"collections":1389,"showCount":1390,"zanCount":1093,"manualWeight":48,"mainColor":94},221741,"tai-ping-chun-se-zhou-zhang-zhong-221741","太平春色轴","张中","插花从花材的选择、色彩搭配、构图造型、乃至内涵意境都有了一定的要求。张中《太平春色》就是以插花为题材的绘画作品。",[7,23,24,225,28,27,83,369,228,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056cf2082cbbbc43245d5e3aee80f4c8.jpg","99.1x41.1公分",[90,45],1017,{"id":1392,"slug":1393,"title":1394,"dynasty":18,"author":1395,"museum":222,"description":1396,"tags":1397,"thumbUrl":1398,"material":327,"size":1399,"collection":44,"collections":1400,"showCount":1401,"zanCount":350,"manualWeight":48,"mainColor":49},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[7,209,23,24,25,173,27,177,29,106,107,108,109,34,175,265,35,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","34.6x566.4",[44],1013,{"id":1403,"slug":1404,"title":1405,"dynasty":76,"author":77,"museum":1406,"description":1407,"tags":1408,"thumbUrl":1410,"material":1411,"size":1412,"collection":90,"collections":1413,"showCount":1414,"zanCount":565,"manualWeight":48,"mainColor":94},220996,"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[7,23,24,209,81,82,27,83,1409,759,263],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 设色","24.5×29.3cm",[90,45],1003,{"id":1416,"slug":1417,"title":1418,"dynasty":18,"author":1419,"museum":20,"description":1420,"tags":1421,"thumbUrl":1424,"material":40,"size":1425,"collection":42,"collections":1426,"showCount":1427,"zanCount":441,"manualWeight":48,"mainColor":49},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[7,23,225,173,27,177,29,106,107,176,1422,175,468,1423,866,34],"古道","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","纵192.5厘米，横111厘米",[42,181,163],995,{"id":1429,"slug":1430,"title":1431,"dynasty":99,"author":100,"museum":206,"description":1432,"tags":1433,"thumbUrl":1435,"material":123,"size":303,"collection":44,"collections":1436,"showCount":1437,"zanCount":565,"manualWeight":48,"mainColor":94},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[7,23,24,25,28,27,104,106,59,107,229,266,34,84,298,1434,299],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg",[44],977,{"id":1439,"slug":1440,"title":1441,"dynasty":189,"author":1442,"museum":206,"description":1443,"tags":1444,"thumbUrl":1445,"material":409,"size":1446,"collection":181,"collections":1447,"showCount":1448,"zanCount":1314,"manualWeight":48,"mainColor":94},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[7,23,24,173,29,177,466,109,558,1365,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","本幅 119.9x56.1公分、全幅 58公分",[181,163],972,{"id":1450,"slug":1451,"title":1452,"dynasty":76,"author":803,"museum":191,"description":1453,"tags":1454,"thumbUrl":1455,"material":527,"size":1456,"collection":90,"collections":1457,"showCount":1458,"zanCount":1337,"manualWeight":48,"mainColor":94},223230,"mei-hua-shi-nv-tu-ren-yi-223230","梅花仕女图","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[7,23,27,106,59,402,1205,173,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09824e74b525459649eeeeac703e697c.jpg","103 1cmx36 6cm",[90,45],967,{"id":1460,"slug":1461,"title":1462,"dynasty":99,"author":1362,"museum":206,"description":1463,"tags":1464,"thumbUrl":1465,"material":88,"size":1466,"collection":44,"collections":1467,"showCount":1468,"zanCount":972,"manualWeight":48,"mainColor":94},214250,"shan-shui-tu-wen-zheng-ming-214250","山水图","画面上有一对夫妇坐在一个开放的亭子里，一个男孩拿着围巾站着，另一个男孩拿着门槛上的花瓶。在小屋的前后，竹子、松树和柳树被浓密的树荫包围。根据题词，这幅画似乎是对夏日家居生活的描写，而且画得非常好。",[7,23,24,81,173,27,28,177,34,866,1423,176,106,175,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e62ddd3da73b17a21cd499e257c992.jpg","66.7x34.8",[44],964,{"id":1470,"slug":1471,"title":1472,"dynasty":76,"author":1473,"museum":132,"description":1474,"tags":1475,"thumbUrl":1476,"material":409,"size":139,"collection":163,"collections":1477,"showCount":1478,"zanCount":857,"manualWeight":48,"mainColor":94},216223,"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","金农","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[7,23,24,25,173,402,83,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg",[163],963,{"id":1480,"slug":1481,"title":1482,"dynasty":1483,"author":1484,"museum":20,"description":1485,"tags":1486,"thumbUrl":1487,"material":1488,"size":1489,"collection":44,"collections":1490,"showCount":1491,"zanCount":480,"manualWeight":48,"mainColor":49},221042,"nv-shi-zhen-tu-quan-juan-gu-kai-zhi-221042","女史箴图全卷","晋","顾恺之","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[7,23,25,244,27,28,106,59,63,86,263,226,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e16c9ec9cf1b988dbcda811f3ae11a.jpg","纸本，墨笔","横601厘米，纵27.9厘米",[44,45],944,{"id":1493,"slug":1494,"title":1495,"dynasty":99,"author":1496,"museum":447,"description":1497,"tags":1498,"thumbUrl":1499,"material":123,"size":1500,"collection":44,"collections":1501,"showCount":1502,"zanCount":565,"manualWeight":48,"mainColor":49},219525,"ren-mian-tao-hua-tu-zhang-ji-219525","人面桃花图","张纪","去年今日此门中，人面桃花相映红。人面不知何处去，桃花依旧笑春风。",[7,23,28,27,225,59,264,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ac97b44166d40664c733d6a911025b.jpg","纵101.2横49.7厘米",[44,45],926,{"id":1504,"slug":1505,"title":1506,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1507,"thumbUrl":1508,"material":88,"size":89,"collection":139,"collections":1509,"showCount":1510,"zanCount":1314,"manualWeight":48,"mainColor":94},214703,"chun-hua-tu-ba-kai-8-yun-shou-ping-214703","春花图八开-8",[7,23,209,24,81,82,27,83,691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d530ee660882b48ebb828a273983c9.jpg",[],925,{"id":1512,"slug":1513,"title":1514,"dynasty":204,"author":1515,"museum":206,"description":1516,"tags":1517,"thumbUrl":1521,"material":67,"size":1522,"collection":181,"collections":1523,"showCount":1524,"zanCount":1009,"manualWeight":48,"mainColor":49},221175,"ba-da-you-chun-tu-zhao-nie-221175","八达游春图","赵喦","《八达游春图》是五代·后梁画家赵喦创作的国画，此画绘有八骑人马欢呼游玩的景象，用色考究，笔墨精到，人物神态栩栩如生，可谓作者画作之精品。",[7,23,28,27,204,106,150,34,1322,229,1003,1518,1519,1520],"围栏","鞍马","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d033fc39e58455d7dde55b9f5c0f61.jpg","纵161厘米，横103厘米",[181,44,45],904,{"id":1526,"slug":1527,"title":1528,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":1531,"thumbUrl":1532,"material":699,"size":1533,"collection":181,"collections":1534,"showCount":1524,"zanCount":1009,"manualWeight":48,"mainColor":94},220034,"dong-zhuang-tu-ce-zhi-bei-gang-shen-zhou-220034","东庄图册之北港","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[7,209,23,24,81,173,177,29,384,227,109,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce1469f2e7f5176c41428873c3177e.jpg","纵28.6厘米，横33厘米",[181,45],{"id":1536,"slug":1537,"title":1538,"dynasty":189,"author":1539,"museum":78,"description":1540,"tags":1541,"thumbUrl":1543,"material":409,"size":1544,"collection":181,"collections":1545,"showCount":1546,"zanCount":972,"manualWeight":48,"mainColor":94},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","吴镇","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[7,209,23,24,25,173,1218,177,174,1542,867,34,557,31,33,178,263],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","33x651.6",[181],887,{"id":1548,"slug":1549,"title":1550,"dynasty":54,"author":278,"museum":311,"description":1551,"tags":1552,"thumbUrl":1556,"material":27,"size":139,"collection":44,"collections":1557,"showCount":1558,"zanCount":611,"manualWeight":48,"mainColor":49},219182,"dun-huang-yi-hui-guan-yin-tong-zi-tu-yi-ming-219182","敦煌遗绘观音童子图","画面氤氲着古朴慈悲的气息。观音端坐莲台，宝相庄严却含温婉，衣袂翩跹间藏着唐时雍容气度，手持净枝似欲洒下甘露。身后光环晕染开柔和光晕，将尘世喧嚣轻轻隔开。童子或捧莲趋前，稚手轻抬献清芬；或携枝凌空，小影翩跹逐流云，嬉闹之态与观音的静谧相映，更显佛法包容生机。岁月虽让色彩斑驳，却仍能窥见昔年绚丽，线条流畅如行云流水，每处细节皆藏敦煌艺术的厚重灵动，似在无声诉说千年信仰与美好。",[7,209,23,24,538,243,27,28,1553,281,1554,342,1555,436],"观音","莲花","华盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc366f712b6d9c9d47ba3ab34ba8db06.jpg",[44],885,{"id":1560,"slug":1561,"title":1562,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":1565,"thumbUrl":1566,"material":699,"size":1567,"collection":181,"collections":1568,"showCount":1558,"zanCount":1314,"manualWeight":48,"mainColor":49},214343,"san-jue-shan-shui-ce-hua-yan-214343","三绝山水册","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[7,23,81,173,27,177,29,229,266,106,384,734,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1075f02c862972d6c6c6e0ea0f290ca9.jpg","23.4x15.8",[181],{"id":1570,"slug":1571,"title":1572,"dynasty":99,"author":1573,"museum":523,"description":1574,"tags":1575,"thumbUrl":1576,"material":1577,"size":1578,"collection":181,"collections":1579,"showCount":1580,"zanCount":441,"manualWeight":48,"mainColor":49},222322,"song-he-yan-nian-tu-tong-kai-222322","松鹤延年图","童垲","此幅《松鹤延年图》寓意大吉，特别符合中国人对于吉祥、长寿的美好祈盼。画面中古树苍翠，松树蜿蜒摇曳；两只丹顶鹤身形高挑飘逸，如仙境来客一般；松树下开满吉祥的花朵，一派吉祥和谐的画意盎然纸上。",[7,23,24,209,225,28,27,83,403,60,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b8b639eb9444922ba6b202fd5837fa.jpg","绢本，设色画","97.2CM*201.8",[181,45],884,{"id":1582,"slug":1583,"title":595,"dynasty":76,"author":1584,"museum":20,"description":1585,"tags":1586,"thumbUrl":1587,"material":409,"size":1588,"collection":181,"collections":1589,"showCount":1590,"zanCount":441,"manualWeight":48,"mainColor":94},218485,"fu-chun-shan-ju-tu-wang-yuan-qi-218485","王原祁","这幅画创作于康熙三十二年（1693年），52岁，仿照元代绘画大师黄公望的名作《富春山居图》的笔法。在这次模仿中，他从容不迫地运用了皴法、擦法和点法，特别是在用笔用墨方面，先用笔后用墨，染色由淡到浓逐渐增加，最后以焦墨破之，给人以沉重之感。",[7,23,173,177,86,263,29,109,34,176,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b9a0c62b860f5eddbc70949a88e933.jpg","98.8x60.1cm",[181],880,{"id":1592,"slug":1593,"title":1594,"dynasty":99,"author":170,"museum":20,"description":1595,"tags":1596,"thumbUrl":1597,"material":123,"size":1598,"collection":44,"collections":1599,"showCount":1600,"zanCount":5,"manualWeight":48,"mainColor":94},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[7,23,24,25,173,177,29,229,108,109,174,866,175,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[44,181,45],877,{"id":1602,"slug":1603,"title":1604,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":1606,"thumbUrl":1607,"material":27,"size":1608,"collection":90,"collections":1609,"showCount":1610,"zanCount":1337,"manualWeight":48,"mainColor":94},222725,"xian-e-chang-chun-tu-mu-dan-tu-lang-shi-ning-222725","仙萼长春图-牡丹图","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[7,27,28,83,369,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea31929152fd1925fc1f60209c866fb5.jpg","宽28.4公分，高33.7公分",[90,45],875,{"id":1612,"slug":1613,"title":1614,"dynasty":99,"author":170,"museum":56,"description":1615,"tags":1616,"thumbUrl":1618,"material":1271,"size":1619,"collection":181,"collections":1620,"showCount":1621,"zanCount":1104,"manualWeight":48,"mainColor":94},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[7,23,173,25,177,29,174,34,37,176,466,1265,1617,106],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","50*1165cm",[181,163],871,{"id":1623,"slug":1624,"title":1625,"dynasty":18,"author":278,"museum":206,"description":1626,"tags":1627,"thumbUrl":1630,"material":123,"size":1631,"collection":42,"collections":1632,"showCount":1633,"zanCount":361,"manualWeight":48,"mainColor":49},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[7,209,23,24,225,28,27,83,84,1628,176,284,1629,370],"禽鸟","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[42],864,{"id":1635,"slug":1636,"title":1637,"dynasty":18,"author":418,"museum":206,"description":1638,"tags":1639,"thumbUrl":1648,"material":123,"size":1649,"collection":44,"collections":1650,"showCount":1651,"zanCount":1314,"manualWeight":48,"mainColor":49},214251,"wen-hui-tu-zhao-ji-214251","文会图","文会图是宋代诗人赵佶的一幅代表作。这幅画作描绘了文会图的美丽风景。\n\n文会图位于宋代的江西省，是一座著名的风景名胜。它有着壮丽的山水景色，群山环绕，江河纵横。这里的山川秀美，让人流连忘返。\n\n在这幅画作中，赵佶巧妙地捕捉了文会图的美丽景色。他用浓墨重彩的画法，勾勒出了文会图的群山和江河。他还描绘了文会图周围的古迹和古建筑，让人感受到了宋代文化的博大精深。\n\n总之，文会图是一幅精美的画作，描绘了文会图的美丽风景。它让我们感受到了宋代诗人赵佶对自然的崇敬之情，也让我们感受到了宋代文化的魅力。",[7,23,24,27,28,106,34,115,1640,1641,1642,1112,1643,86,1644,1645,300,1646,1647],"饮酒","桌椅","餐具","聚会","场景描绘","细致写实","园林","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9e09405eba855cbe3e826712631928.jpg","184.4x123.9",[44],862,{"id":1653,"slug":1654,"title":98,"dynasty":18,"author":146,"museum":20,"description":147,"tags":1655,"thumbUrl":1657,"material":573,"size":1658,"collection":42,"collections":1659,"showCount":1660,"zanCount":972,"manualWeight":48,"mainColor":49},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[7,23,25,104,27,1656,28,106,107,108,109,111,112,110,34,113,151,150,114,120,119,115,157,116],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[42,44,45],858,{"id":1662,"slug":1663,"title":1664,"dynasty":189,"author":1665,"museum":1666,"description":1667,"tags":1668,"thumbUrl":1669,"material":573,"size":1670,"collection":90,"collections":1671,"showCount":1672,"zanCount":972,"manualWeight":48,"mainColor":49},221850,"mu-dan-hu-die-tu-shen-meng-jian-221850","牡丹蝴蝶图","沈孟坚","日本京都国立博物馆","图绘牡丹一枝，彩蝶二只，牡丹花以粉色为主色，尽显娇嫩、华丽，彩蝶闻花而来，翩翩起舞。此图构图精巧，勾画精细，动静相宜，栩栩如生。",[7,23,28,27,83,369,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e410cee36c9d4dcc1b24a9edab13549.jpg","26.9×27cm",[90,45],854,{"id":1674,"slug":1675,"title":1676,"dynasty":18,"author":1677,"museum":311,"description":1678,"tags":1679,"thumbUrl":1680,"material":67,"size":1681,"collection":42,"collections":1682,"showCount":1683,"zanCount":350,"manualWeight":48,"mainColor":49},221182,"mei-zhu-tu-ye-ma-lin-221182","梅竹图页","马麟","绿竹丛中逶迤伸出白梅两枝，清丽冷艳",[7,209,23,24,81,28,27,83,402,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d26a148f7c6e0c7598c67b7543456d8.jpg","纵26厘米，横26.5厘米",[42,90,45],851,{"id":1685,"slug":1686,"title":1687,"dynasty":76,"author":963,"museum":311,"description":1688,"tags":1689,"thumbUrl":1690,"material":1691,"size":1692,"collection":163,"collections":1693,"showCount":1694,"zanCount":1104,"manualWeight":48,"mainColor":94},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[7,23,24,25,173,177,451,226,385,29,403,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米",[163],845,{"id":1696,"slug":1697,"title":1698,"dynasty":18,"author":1699,"museum":20,"description":1700,"tags":1701,"thumbUrl":1702,"material":573,"size":1703,"collection":42,"collections":1704,"showCount":1705,"zanCount":1093,"manualWeight":48,"mainColor":49},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[7,23,25,26,27,28,177,29,108,109,175,34,557,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","24cmx254cm",[42,181,45],840,{"id":1707,"slug":1708,"title":1709,"dynasty":18,"author":278,"museum":206,"description":1710,"tags":1711,"thumbUrl":1713,"material":123,"size":1714,"collection":90,"collections":1715,"showCount":1716,"zanCount":857,"manualWeight":48,"mainColor":49},218394,"shan-cha-mei-hua-tu-yi-ming-218394","山茶梅花图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[7,23,24,225,83,28,27,1292,1712,370,759,229],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg","33.6x46.7",[90],833,{"id":1718,"slug":1719,"title":1720,"dynasty":18,"author":1721,"museum":206,"description":1722,"tags":1723,"thumbUrl":1725,"material":302,"size":1726,"collection":42,"collections":1727,"showCount":1728,"zanCount":652,"manualWeight":48,"mainColor":49},221299,"sui-chao-tu-zhao-chang-221299","岁朝图","赵昌","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[7,209,23,24,225,27,28,83,84,1724,1720],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","103.8×51.2cm",[42,90,45],830,{"id":1730,"slug":1731,"title":1732,"dynasty":204,"author":1733,"museum":206,"description":1734,"tags":1735,"thumbUrl":1736,"material":123,"size":1737,"collection":44,"collections":1738,"showCount":1739,"zanCount":611,"manualWeight":48,"mainColor":49},218529,"shi-nv-tu-zhou-wen-ju-218529","仕女图","周文矩","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[7,23,27,28,106,59,807,266,512,384,84,385,436,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb332ba757d3b97ebad0f1f7b7982c84e.jpg","180.9x102.1",[44],820,{"id":1741,"slug":1742,"title":1743,"dynasty":76,"author":1744,"museum":132,"description":1745,"tags":1746,"thumbUrl":1747,"material":409,"size":139,"collection":90,"collections":1748,"showCount":1749,"zanCount":5,"manualWeight":48,"mainColor":94},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[7,23,24,25,173,400,86,178,263,406,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[90],816,{"id":1751,"slug":1752,"title":1753,"dynasty":18,"author":19,"museum":20,"description":21,"tags":1754,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":1756,"showCount":1757,"zanCount":857,"manualWeight":48,"mainColor":49},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[7,23,209,24,25,26,27,28,177,29,557,31,108,34,1087,1755,37,38],"舟船",[42,44,45],809,{"id":1759,"slug":1760,"title":1761,"dynasty":99,"author":100,"museum":20,"description":1762,"tags":1763,"thumbUrl":1765,"material":40,"size":1766,"collection":44,"collections":1767,"showCount":1768,"zanCount":972,"manualWeight":48,"mainColor":94},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[7,23,209,24,28,27,106,59,107,34,298,1434,266,84,1764,63],"器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[44,45],808,{"id":1770,"slug":1771,"title":1772,"dynasty":18,"author":461,"museum":583,"description":1773,"tags":1774,"thumbUrl":1777,"material":637,"size":1778,"collection":42,"collections":1779,"showCount":1780,"zanCount":5,"manualWeight":48,"mainColor":49},221395,"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","《雪景寒林图》描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[7,23,24,29,177,173,225,1775,1776,176,34,282,175],"雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","纵193.5厘米 横160.3厘米",[42,181,163],800,{"id":1782,"slug":1783,"title":1784,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1785,"thumbUrl":1786,"material":88,"size":89,"collection":139,"collections":1787,"showCount":1788,"zanCount":5,"manualWeight":48,"mainColor":94},214705,"chun-hua-tu-ba-kai-5-yun-shou-ping-214705","春花图八开-5",[7,23,24,81,83,27,82,369,607,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe56baf02b8d416236f5828d6ab4cc83.jpg",[],793,{"id":1790,"slug":1791,"title":1792,"dynasty":18,"author":1793,"museum":1406,"description":1794,"tags":1795,"thumbUrl":1796,"material":67,"size":1797,"collection":42,"collections":1798,"showCount":1799,"zanCount":350,"manualWeight":48,"mainColor":49},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[7,23,209,29,173,177,225,107,108,109,466,865,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[42,181,163],792,{"id":1801,"slug":1802,"title":1803,"dynasty":99,"author":1804,"museum":311,"description":1805,"tags":1806,"thumbUrl":1809,"material":123,"size":1810,"collection":44,"collections":1811,"showCount":1812,"zanCount":652,"manualWeight":48,"mainColor":49},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[7,23,24,25,27,28,104,106,107,29,34,108,109,1755,1087,176,1069,115,1807,403,1808,31,557,114],"人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[44,45],775,{"id":1814,"slug":1815,"title":1816,"dynasty":949,"author":950,"museum":20,"description":1817,"tags":1818,"thumbUrl":1820,"material":88,"size":1821,"collection":90,"collections":1822,"showCount":1823,"zanCount":1009,"manualWeight":48,"mainColor":94},216932,"hua-xia-zhou-qi-bai-shi-216932","画虾轴","墨痕流转间，虾的意态毕现。淡墨晕染虾身，层次细腻如见肌理通透；劲挺线条勾勒须足，纤细却藏弹性，似随水波轻颤。几只虾俯仰交错，须足相缠时竟有嬉戏之趣，留白处虽无池水，却满溢清灵之气。笔简神足，将虾的鲜活与水墨的韵致融于一纸，尽显生命的灵动与艺术的妙境。",[7,23,225,173,1819,83],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0cba5480e9b60c0762bf4eec1cc7d9.jpg","68.4x34.5cm",[90],770,{"id":1825,"slug":1826,"title":1827,"dynasty":99,"author":170,"museum":56,"description":1828,"tags":1829,"thumbUrl":1830,"material":1831,"size":1832,"collection":181,"collections":1833,"showCount":1834,"zanCount":1104,"manualWeight":48,"mainColor":94},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[7,23,24,225,173,177,86,178,263,29,175,106,866,734,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[181],763,{"id":1836,"slug":1837,"title":1838,"dynasty":204,"author":1839,"museum":20,"description":1840,"tags":1841,"thumbUrl":1844,"material":67,"size":1845,"collection":181,"collections":1846,"showCount":1834,"zanCount":684,"manualWeight":48,"mainColor":49},221154,"xiao-xiang-tu-dong-yuan-221154","潇湘图","董源","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[7,23,24,25,29,173,27,1842,31,34,1843,174,106,37],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[181,163],{"id":1848,"slug":1849,"title":1850,"dynasty":18,"author":1419,"museum":311,"description":1851,"tags":1852,"thumbUrl":1853,"material":123,"size":1854,"collection":90,"collections":1855,"showCount":1834,"zanCount":972,"manualWeight":48,"mainColor":94},218581,"hua-niao-shan-shui-xiao-pin-ce-shan-cha-ma-yuan-218581","花鸟山水小品册-山茶","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[7,23,24,81,83,27,28,263,1292,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e793eaf7b0fe061b674b3389ac383bd.jpg","33*19",[90],{"id":1857,"slug":1858,"title":1859,"dynasty":76,"author":803,"museum":78,"description":1860,"tags":1861,"thumbUrl":1862,"material":123,"size":1860,"collection":90,"collections":1863,"showCount":1864,"zanCount":5,"manualWeight":48,"mainColor":94},218893,"fu-rong-bai-mao-tu-zhou-ren-yi-218893","芙蓉白猫图轴","纵134.2厘米，横47.8厘米",[7,23,209,24,225,28,27,83,404,807,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ad6bc3e192fef53d9ce6256744d731.jpg",[90],755,{"id":1866,"slug":1867,"title":1868,"dynasty":99,"author":1014,"museum":206,"description":1869,"tags":1870,"thumbUrl":1872,"material":67,"size":1873,"collection":181,"collections":1874,"showCount":1875,"zanCount":972,"manualWeight":48,"mainColor":49},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[7,23,24,225,27,29,106,107,108,109,403,176,384,1871,175],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[181,163],752,{"id":1877,"slug":1878,"title":1879,"dynasty":76,"author":77,"museum":206,"description":1880,"tags":1881,"thumbUrl":1882,"material":71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三友图》《林居高士图》等，笔墨润秀，神完气足。其没骨花卉画柔美秀雅，开创了一代新风，时人争相仿效。\n王翚有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》、《芳洲图》（常熟博物馆藏）等传世。着有《清晖画跋》。",[7,23,24,209,27,82,83,84,81,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d394a60f3fe31f74cc2a4529d753ab.jpg","43x29厘米",[90,45],750,{"id":1887,"slug":1888,"title":1889,"dynasty":189,"author":1539,"museum":20,"description":1890,"tags":1891,"thumbUrl":1892,"material":1893,"size":1894,"collection":163,"collections":1895,"showCount":1897,"zanCount":1009,"manualWeight":48,"mainColor":255},220780,"mo-zhu-po-shi-tu-wu-zhen-220780","墨竹坡石图","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[7,23,24,225,173,226,229,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162c658d1d21976ed1ec52ed3d2446e9.jpg","纸本 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Museum","此作以工写交融之法绘就，大写意晕染蔬果花卉：明黄葫芦腴润饱满，墨色瓜实朴拙厚重，丝瓜清透雅致，凌霄、月季柔媚鲜活，藤蔓以狂草般的笔墨肆意舒展，苍劲写意中尽得野趣生机。\n\n笔下草虫则以极精工的细笔刻画：蜻蜓翼脉纤毫毕现，螳螂举臂灵动逼真，蝴蝶振翅欲飞，将小虫的鲜活灵态尽致描摹。简逸朴拙的写意花草，搭配毫厘必现的工笔虫豸，将文人画的雅趣与乡野小景的生机融为一体，把寻常田间意趣化作耐品的丹青佳构。",[7,23,27,83,25,1918,1919,696,512,954,1920,369,694,606,607],"葫芦","丝瓜","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55484ca9db9175f8ad8bbbb64dec7ae.jpg","color on 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的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[7,209,23,24,81,27,83,369,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","41×33",[42,90,45],683,{"id":2005,"slug":2006,"title":2007,"dynasty":204,"author":366,"museum":311,"description":2008,"tags":2009,"thumbUrl":2010,"material":123,"size":139,"collection":90,"collections":2011,"showCount":2012,"zanCount":1093,"manualWeight":48,"mainColor":94},219178,"hong-mu-dan-tu-xu-xi-219178","红牡丹图","徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。",[7,209,23,24,83,369,27,28,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffaf2140f2c68889a42d1ec443c4e02.jpg",[90],680,{"id":2014,"slug":2015,"title":2016,"dynasty":189,"author":190,"museum":20,"description":2017,"tags":2018,"thumbUrl":2020,"material":88,"size":2021,"collection":181,"collections":2022,"showCount":2023,"zanCount":1314,"manualWeight":48,"mainColor":49},218531,"kuai-xue-shi-qing-tu-huang-gong-wang-218531","快雪时晴图","《快雪时晴图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。 画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[7,23,24,25,173,177,29,176,34,2019,178,263],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[181,45],675,{"id":2025,"slug":2026,"title":2027,"dynasty":18,"author":2028,"museum":311,"description":2029,"tags":2030,"thumbUrl":2031,"material":67,"size":2032,"collection":42,"collections":2033,"showCount":2034,"zanCount":1104,"manualWeight":48,"mainColor":49},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[7,209,23,24,81,26,27,177,29,108,34,176,109,114,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[42,181,45],664,{"id":2036,"slug":2037,"title":2038,"dynasty":18,"author":2039,"museum":206,"description":2040,"tags":2041,"thumbUrl":2043,"material":123,"size":2044,"collection":90,"collections":2045,"showCount":2046,"zanCount":857,"manualWeight":48,"mainColor":49},218937,"hua-lan-tu-dong-li-song-218937","花篮图-冬","李嵩","篮子上装饰着水仙花、韵草、绿萼梅、单花茶花和蜡梅，中央的朱砂茶花以其艳丽的红色取胜，周围是芬芳的花朵。",[7,209,23,24,28,27,83,228,84,404,263,2042],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ed24f58dd4748fe5e7c6a5283a48e2.jpg","26.1x26.3",[90],662,{"id":2048,"slug":2049,"title":2050,"dynasty":99,"author":936,"museum":20,"description":2051,"tags":2052,"thumbUrl":2054,"material":123,"size":2055,"collection":90,"collections":2056,"showCount":2057,"zanCount":1009,"manualWeight":48,"mainColor":49},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[7,209,23,24,225,28,27,83,227,2053,229],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[90,45],661,{"id":2059,"slug":2060,"title":2061,"dynasty":99,"author":278,"museum":2062,"description":2063,"tags":2064,"thumbUrl":2065,"material":538,"size":2066,"collection":44,"collections":2067,"showCount":2068,"zanCount":1009,"manualWeight":48,"mainColor":49},222148,"san-da-shi-tu-shui-yue-yi-ming-222148","三大士图-水月","法海寺","观音又作观世音、观自在、光世音，这佛教中西方极乐世界教主阿弥陀佛左胁侍。水月观音图在法海寺壁画中最为出色。人物刻画既有传统的形制，又具有与实的基本手法，突破了僵硬的模式和程式，绘制技术精细完美，细微处一丝不苟。\n水月观音是三十三观音之一，面目端庄，大慈大悲。法海寺的水月观音，曲右腿，盘左膝，右肘膝托，左掌下抵，半跏坐于噍岩之上。面如满月，超然脱俗。是佛，却微露慈母的温情，是神，但足显处子般的恬静，给人以清新吸净之美感。穿着装饰，有宝冠、耳环、项圈、璎珞花饰、手钏、，手镯、络腋、宝带等八饰，样样齐全。观音莹莹酥胸坦露，纤纤玉手自然下垂，丰腴温暖富有弹性。轻纱蔽体，轻纱蔽体，脚锣上碎铃环绕“漫腰束饰，赤了一双脚”，使人更感到菩萨的慈悯可亲。\n唐宋以来，历代绘画都喜欢用纱布反映仕女的披肩来表现绘画的技巧，唯独法海寺壁画的薄纱占的面积那么大，线条那么精细、均匀、工整、挺拔，堪称壁画中的一绝。披纱上的图案是六菱花瓣，每一花瓣都由40多根金线组成，沥沥贴金，闪闪发光，细如蛛丝，薄如蝉翼，好象水月观音在轻纱下微微呼吸。\n水月观音一组画面是一个完整的体系。背景是浩淼的云水，缀以紫竹林、红牡丹、清泉流水，衬托出“诸天无实体，水月皆虚空”的佛理。水月观音左下部是五十三参后获得正果、成为观音胁侍的善财童子。善财童子，头略抬起，凝眸欲语，双手合十，虔诚中又带着几分稚气，生活气息浓郁。画工精细，连一根眉毛也不放过，眉根生肉，更显出纯洁无邪的童心。观音图右下角绘有观音菩萨的坐骑金毛犼，又叫狻猊，似犬，凶猛食人，每与龙斗，口中喷火数丈，龙往往不能取胜。左上部绘有一只鹦鹉，传说安息国人不知佛法，阿弥陀佛化为鹦鹉教化国人。右上部绘有韦驮护法神。",[7,23,538,243,27,28,106,285,109,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aff56b059e667a9f0d7f368960c4be.jpg","450x450厘米",[44],658,{"id":2070,"slug":2071,"title":2072,"dynasty":76,"author":77,"museum":1406,"description":1407,"tags":2073,"thumbUrl":2074,"material":1411,"size":1412,"collection":90,"collections":2075,"showCount":2076,"zanCount":350,"manualWeight":48,"mainColor":94},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花",[7,209,23,24,81,27,82,83,84,979,658,1173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg",[90,45],657,{"id":2078,"slug":2079,"title":2080,"dynasty":18,"author":418,"museum":20,"description":2081,"tags":2082,"thumbUrl":2083,"material":40,"size":2084,"collection":42,"collections":2085,"showCount":2086,"zanCount":1337,"manualWeight":48,"mainColor":255},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[7,23,209,24,225,28,27,106,403,226,210,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 厘米",[42,90,45],656,{"id":2088,"slug":2089,"title":2090,"dynasty":54,"author":2091,"museum":20,"description":2092,"tags":2093,"thumbUrl":2094,"material":67,"size":2095,"collection":328,"collections":2096,"showCount":2098,"zanCount":1314,"manualWeight":48,"mainColor":94},221052,"wu-niu-tu-quan-juan-han-huang-221052","五牛图全卷","韩滉","《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[7,23,25,27,28,263,86,178,151,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102bd0cd5d4cb918fdece3f7352d6ced.jpg","525.92X21.6cm",[328,2097],"碑帖精选",654,{"id":2100,"slug":2101,"title":2102,"dynasty":76,"author":2103,"museum":260,"description":2104,"tags":2105,"thumbUrl":2106,"material":27,"size":2107,"collection":90,"collections":2108,"showCount":2109,"zanCount":652,"manualWeight":48,"mainColor":94},222691,"wan-you-tong-chun-tu-juan-qian-wei-cheng-222691","万有同春图卷","钱维城","画卷以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以没骨法绘写花叶、花瓣，形态逼真。钱氏画风以干笔勾勒，重视烘染，笔墨浑然，用笔缜密，以青绿、赭石相间设色，极富宫廷富贵气息。\n一如其画卷的题目“万有”，他以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以恽寿平的没骨法绘写花叶、花瓣，形态逼真。我们可以轻松地根据花来辨别物种。",[7,23,25,27,28,83,369,691,405,264,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28df3bc101f8e21a132c570146c27eaa.jpg","36.3X787.3厘米",[90,45],647,{"id":2111,"slug":2112,"title":2113,"dynasty":18,"author":2114,"museum":206,"description":2115,"tags":2116,"thumbUrl":2117,"material":123,"size":2118,"collection":90,"collections":2119,"showCount":2120,"zanCount":972,"manualWeight":48,"mainColor":49},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[7,209,23,24,28,173,27,226,1628,283,865,1775,229,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米",[90,42],641,{"id":2122,"slug":2123,"title":2124,"dynasty":18,"author":278,"museum":1098,"description":2125,"tags":2126,"thumbUrl":2128,"material":123,"size":139,"collection":90,"collections":2129,"showCount":2130,"zanCount":1104,"manualWeight":48,"mainColor":49},214834,"ke-si-mu-dan-hu-die-tu-yi-ming-214834","缂丝牡丹蝴蝶图","缂丝牡丹蝴蝶图是宋代佚名画家的一幅著名图画。这幅图画描绘了一朵牡丹花和蝴蝶在相互追逐的场景。牡丹花象征着美丽和优雅，而蝴蝶则代表着自由和转化。这幅图画结合了自然与人文的元素，展现出一种优美的意境。画中蝴蝶的细腻写实和牡丹花的浓艳色彩相得益彰，使得这幅图画在宋代颇受欢迎。",[7,23,209,24,1352,83,2127,27,369,512,263],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263c73234939963e2722e8b4fcab0d10.jpg",[90],637,{"id":2132,"slug":2133,"title":2134,"dynasty":76,"author":381,"museum":20,"description":2135,"tags":2136,"thumbUrl":2138,"material":573,"size":2139,"collection":90,"collections":2140,"showCount":2141,"zanCount":611,"manualWeight":48,"mainColor":94},223161,"song-mei-shuang-he-tu-shen-quan-223161","松梅双鹤图","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。\n将工笔、写意、兼工带写、重彩、淡彩、没骨、水墨、白描、勾勒填彩、钩花点叶等绘画技法在写生中灵活运用并加以发展，既重形似，又重神似。",[7,23,24,28,27,83,403,402,60,226,176,2137],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc931c0442a93ab3c28aef5baea6bb17.jpg","191cm×98.cm",[90],633,{"id":2143,"slug":2144,"title":2145,"dynasty":99,"author":2146,"museum":206,"description":2147,"tags":2148,"thumbUrl":2149,"material":302,"size":2150,"collection":44,"collections":2151,"showCount":2141,"zanCount":1009,"manualWeight":48,"mainColor":49},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","唐寅","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[7,23,24,25,27,29,867,109,174,175,34,176,770,106,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","纵29.4cm，横351cm",[44,45],{"id":2153,"slug":2154,"title":2155,"dynasty":54,"author":239,"museum":311,"description":2156,"tags":2157,"thumbUrl":2163,"material":2164,"size":2165,"collection":139,"collections":2166,"showCount":2167,"zanCount":441,"manualWeight":48,"mainColor":94},289941,"song-zi-tian-wang-tu-wu-dao-zi-289941","送子天王图","《送子天王图》（又名《天王送子图》、《释迦降生图》）是唐代吴道子根据佛典《瑞应本起经》创作纸本墨笔画，一说宋人摹本。该作现藏于日本大阪市立美术馆。\n全图分为三个部分：第一段描绘一位王者气度的天神端坐中间，两旁是手执笏板的文臣、捧着砚台的仙女，以及仗剑围蛇的武将力士面对一条由二神降伏的巨龙。第二段画的是一个踞坐在石头之上的四臂披发尊神，身后烈焰腾腾。神像形貌诡异，颇具气势，左右两边是手捧瓶炉法器的天女神人。第三段即《释迦牟尼降生图》，内容是印度净饭王的儿子出生的故事。从画面上，可以看到释迦牟尼降生时，他的父亲抱着他到寺庙朝谒见自在天神的情景。\n此图写异域故事，而画中的人、鬼神、兽等却完全加以中国化，当是佛教与中国本土变化至唐日趋融合之势所致。此图意象繁富，以释迦降生为中心，天地诸界情状历历在目，技艺高超，想象奇特，令人神驰目眩。该图着色较淡，近乎白描。",[7,209,23,25,244,2158,2159,243,2160,2161,433,2162],"人物画","神话","天王","鬼怪","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbca5673da27ce7e942f4cd3b8991436.jpg","未知","Xcm*Xcm",[],629,{"id":2169,"slug":2170,"title":2171,"dynasty":76,"author":2172,"museum":447,"description":2173,"tags":2174,"thumbUrl":2176,"material":123,"size":2177,"collection":90,"collections":2178,"showCount":2179,"zanCount":857,"manualWeight":48,"mainColor":49},219051,"hua-niao-tu-zhou-quan-219051","花鸟图","周铨","绘河塘的一角，铺天盖地的荷叶和花朵高高耸立，白色花瓣中的黄色花蕊错落有致，刚刚冒出的小荷叶和花蕾展现出勃勃生机；地面上，一只羽毛斑斓、微闭双眼的野鸭子似乎正在打盹。",[7,23,27,28,225,83,136,137,2175,314],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74352fefe18eb2942c55d970a733680.jpg","94x48.6cm",[90],628,{"id":2181,"slug":2182,"title":2183,"dynasty":18,"author":278,"museum":206,"description":2184,"tags":2185,"thumbUrl":2187,"material":123,"size":139,"collection":44,"collections":2188,"showCount":2179,"zanCount":1104,"manualWeight":48,"mainColor":49},215043,"mo-gu-kai-zhi-luo-shen-fu-yi-ming-215043","摹顾恺之洛神赋","《洛神赋图》，相传是东晋名画家顾恺之根据曹植文学作品《洛神赋》的故事情节所创作的故事画。曹植原文借对梦幻之镜中人神恋爱的追求，抒发了爱情失意的自我感伤。",[7,23,24,25,28,27,105,106,59,433,808,263,2186],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c126a717e9affa0b4017e209a0f9a9.jpg",[44],{"id":2190,"slug":2191,"title":2192,"dynasty":76,"author":77,"museum":206,"description":2193,"tags":2194,"thumbUrl":2195,"material":27,"size":2196,"collection":90,"collections":2197,"showCount":2198,"zanCount":972,"manualWeight":48,"mainColor":94},220988,"yu-zao-tu-ce-bai-he-yun-shou-ping-220988","鱼藻图册-百合","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[7,23,24,81,82,27,83,989,607,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2762924bf1e1eee5608b789b14168bf1.jpg","37.8x60.5厘米",[90,45],626,{"id":2200,"slug":2201,"title":2202,"dynasty":99,"author":170,"museum":206,"description":2203,"tags":2204,"thumbUrl":2205,"material":527,"size":2206,"collection":181,"collections":2207,"showCount":2208,"zanCount":2209,"manualWeight":48,"mainColor":49},222101,"shan-shui-ce-shen-zhou-222101","山水册","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[7,23,209,24,81,173,177,29,866,109,1542,867,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","37.4x58.8",[181,163],623,1,{"id":2211,"slug":2212,"title":2213,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":2216,"thumbUrl":2224,"material":67,"size":2225,"collection":44,"collections":2226,"showCount":2227,"zanCount":972,"manualWeight":48,"mainColor":94},222876,"hong-lou-meng-tu-ce-sun-wen-222876","红楼梦图册","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[7,28,27,106,107,115,298,2217,59,229,34,2218,114,1205,2219,2220,2221,2222,2223],"廊庑","古典园林","庭院景观","传统服饰","园林建筑","彩色绘制","精细勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f1fb4911504a20d8c776ac2c7c4877.jpg","纵43.3厘米、横76.5厘米",[44],620,{"id":2229,"slug":2230,"title":2231,"dynasty":76,"author":1563,"museum":20,"description":2232,"tags":2233,"thumbUrl":2235,"material":123,"size":2236,"collection":90,"collections":2237,"showCount":2227,"zanCount":1104,"manualWeight":48,"mainColor":94},219334,"hai-tang-qin-tu-tu-hua-yan-219334","海棠禽兔图","华嵒的花鸟画丰富了传统的“黄家富贵，徐熙野逸”的审美情趣，寓真情实感于创作，使作品具有丰富的感情和个性，具有雅俗共赏的特征。此图是他晚年的代表作，画家运用拟人化的手法，将鹦鹉按捺不住的欣喜和黑兔胆小好奇的神态表现得生动传神。在画法上，华嵒从恽寿平淡雅清丽的没骨花卉入手，涉猎诸家，形成了鲜明的个人风格。此图结构新奇，笔法将宋人工笔花鸟之细腻工致与写意花鸟之秀逸洗练相结合，敷色活泼。海棠以胭脂及白粉点染，树叶颜色用石青、石绿，其间又有微带白黄色的大叶，颜色浓丽湿润，黑兔的墨色变化更为微妙丰富，浓淡之间表现出柔软疏松的质感，并与树木花卉的暖色调和谐统一，使整幅画面洋溢着花香鸟语的初春气氛。",[7,23,225,27,28,83,1353,2234,266,263],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd34c59b5ebbf048bf68fd04c4a04bed.jpg","纵135.2厘米，横52.8厘米",[90,45],{"id":2239,"slug":2240,"title":2241,"dynasty":99,"author":2242,"museum":206,"description":2243,"tags":2244,"thumbUrl":2245,"material":123,"size":2246,"collection":90,"collections":2247,"showCount":2248,"zanCount":684,"manualWeight":48,"mainColor":49},214726,"hua-hui-tu-chen-chun-214726","花卉图","陈淳","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[7,23,24,209,225,27,400,83,84,229,737,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[90],619,{"id":2250,"slug":2251,"title":2252,"dynasty":18,"author":2253,"museum":311,"description":2254,"tags":2255,"thumbUrl":2256,"material":139,"size":139,"collection":139,"collections":2257,"showCount":2258,"zanCount":5,"manualWeight":48,"mainColor":255},227811,"chu-shui-fu-rong-tu-ye-wu-bing-227811","出水芙蓉图页","吴炳","《出水芙蓉图》页，宋， ，设色，纵2.8cm，横25cm。\n本幅无款。\n有残印一角。\n裱边贴签：“吴炳 ”。\n一朵盛开的粉红色荷花占据整个 ，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。\n莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。\n画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。\n至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！ 旧题吴炳绘，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[7,23,209,24,81,28,27,83,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d8a0e1d27a9d9e1ea0a726ac79344.jpg",[],616,{"id":2260,"slug":2261,"title":2262,"dynasty":18,"author":2263,"museum":486,"description":2264,"tags":2265,"thumbUrl":2268,"material":27,"size":2269,"collection":42,"collections":2270,"showCount":2271,"zanCount":350,"manualWeight":48,"mainColor":49},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[7,23,209,24,28,27,83,1153,2266,2267,607,263],"荔枝","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[42,90,45],615,{"id":2273,"slug":2274,"title":2275,"dynasty":1483,"author":1484,"museum":56,"description":2276,"tags":2277,"thumbUrl":2280,"material":67,"size":2281,"collection":181,"collections":2282,"showCount":2283,"zanCount":350,"manualWeight":48,"mainColor":49},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[7,23,24,25,28,27,106,59,2278,29,34,2279,266,175,263,86,178,1163,209],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[181,45],613,{"id":2285,"slug":2286,"title":2287,"dynasty":76,"author":1047,"museum":132,"description":2288,"tags":2289,"thumbUrl":2290,"material":409,"size":139,"collection":90,"collections":2291,"showCount":2292,"zanCount":1314,"manualWeight":48,"mainColor":94},216942,"yu-shi-tu-zhou-zhu-da-216942","鱼石图轴","朱耷的鱼石图轴是一件著名的绘画作品，它是朱耷在清朝时期创作的。这幅作品以细腻的线条和丰富的色彩，描绘了一幅生动的海洋图景，其中包括众多的海鱼和石头。鱼石图轴以其高超的绘画技巧和对海洋生物的生动描绘而闻名。",[7,23,24,225,173,400,783,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d988e50b2be54a69df81067fcfd25.jpg",[90],610,{"id":2294,"slug":2295,"title":2296,"dynasty":18,"author":2297,"museum":1666,"description":2298,"tags":2299,"thumbUrl":2300,"material":573,"size":2301,"collection":42,"collections":2302,"showCount":2303,"zanCount":5,"manualWeight":48,"mainColor":49},221594,"hong-bai-fu-rong-tu-li-di-221594","红白芙蓉图","李迪","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。\n《红白芙蓉图》是双幅画，描写红白芙蓉盛开的景色。红、白芙蓉各两朵，都画盛开时的花瓣，红色娇艳鲜嫩，白色粉白如玉，花叶为深绿色。",[7,23,24,83,28,27,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a01f8634d699b1442498a83bf153de.jpg","纵25.2×横26.cm×2",[42,45,90],609,{"id":2305,"slug":2306,"title":1462,"dynasty":189,"author":2307,"museum":206,"description":2308,"tags":2309,"thumbUrl":2311,"material":409,"size":2312,"collection":181,"collections":2313,"showCount":2314,"zanCount":1009,"manualWeight":48,"mainColor":49},214249,"shan-shui-tu-cao-zhi-bai-214249","曹知白","两棵松树相向而立，树枝向下延伸呈蟹爪状，是北宋时期李成和郭熙的典型画风。这幅画浓淡相间，尤其是在远处的山峰之间，淡墨层层渲染，云层模糊不清，似有似无。",[7,209,23,173,177,29,866,176,2310],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57a8f96ed896461c7ff36507601cb6a.jpg","68.1x34.3",[181],602,{"id":2316,"slug":2317,"title":2318,"dynasty":18,"author":746,"museum":206,"description":2319,"tags":2320,"thumbUrl":2321,"material":409,"size":2322,"collection":328,"collections":2323,"showCount":2324,"zanCount":1337,"manualWeight":48,"mainColor":94},214222,"su-shi-chi-du-su-shi-214222","苏轼尺牍","苏轼在奉旨前往凉州的途中，给他最好的朋友赵孟德写了这封信。这幅作品也被称为 "渡海帖"，是典型的苏轼风格，苍劲有力，沉着痛快，为其晚年的代表作。",[7,24,86,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61013e089b9077df0e32de8156aa212a.jpg","28.6x40.2",[328],601,{"id":2326,"slug":2327,"title":2328,"dynasty":18,"author":676,"museum":206,"description":2329,"tags":2330,"thumbUrl":2331,"material":409,"size":2332,"collection":44,"collections":2333,"showCount":2334,"zanCount":1104,"manualWeight":48,"mainColor":94},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[7,23,24,25,244,29,107,108,109,175,34,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[44],600,{"id":2336,"slug":2337,"title":2338,"dynasty":76,"author":582,"museum":20,"description":2339,"tags":2340,"thumbUrl":2343,"material":40,"size":2344,"collection":90,"collections":2345,"showCount":2346,"zanCount":1009,"manualWeight":48,"mainColor":49},222873,"wu-tong-shuang-tu-tu-leng-mei-222873","梧桐双兔图","此图似为中秋佳节而作。图中野菊满地，桂花飘香，高大的梧桐树下，两只肥硕的白兔惬意地在草地上嬉戏。双兔写实，造型准确生动，皮毛以细笔一一画出，具有柔软的质感。兔目用白色点出高光，令眼神活灵活现顿生神采。山石以折带笔方正写出，于坚硬中见峻峭之美。构图疏密有致，设色注重冷暖色调的对比。整幅作品大气秀美，富丽堂皇，受到了西洋绘画技法的影响，具有康熙朝宫廷绘画的风貌。",[7,23,28,27,808,2234,2341,386,298,2342,263],"梧桐","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d226d3f4c0a53ecbb5a2d754ae2b5b.jpg","纵176.2厘米，横95厘米",[90,45],595,{"id":2348,"slug":2349,"title":1462,"dynasty":189,"author":1442,"museum":206,"description":2350,"tags":2351,"thumbUrl":2353,"material":409,"size":2354,"collection":181,"collections":2355,"showCount":2356,"zanCount":1009,"manualWeight":48,"mainColor":94},218740,"shan-shui-tu-ni-zan-218740","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[7,209,23,24,225,173,177,2352,29,176,466,109,34,174,1542],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[181],579,{"id":2358,"slug":2359,"title":2360,"dynasty":949,"author":1940,"museum":1941,"description":2361,"tags":2362,"thumbUrl":2363,"material":139,"size":139,"collection":139,"collections":2364,"showCount":2365,"zanCount":1104,"manualWeight":48,"mainColor":94},220496,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-gong-yang-pu-sa-xiang-zhang-da-qian-220496","张大千临摹敦煌壁画初唐供养菩萨像","此作还原初唐造像典雅风骨，菩萨面庞莹润温婉，眉眼低垂自带静穆慈悲。华美发髻缀满宝饰，璎珞飘带线条细劲流畅，晕色承袭敦煌古制，石青、朱砂配色厚重明艳，尽显大唐华贵雍容。菩萨持香具安坐莲台，姿态松弛悠然，舒展的莲瓣层次分明，既有宗教造像的庄严端凝，又带着东方古典的柔润气韵，完美复刻敦煌壁画的堂皇雅致，让千年古韵跃然绢上。",[7,105,1945,538,243,27,28,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42ad28d51906c73465cc7295981261.jpg",[],577,{"id":2367,"slug":2368,"title":309,"dynasty":76,"author":278,"museum":311,"description":2369,"tags":2370,"thumbUrl":2371,"material":139,"size":139,"collection":139,"collections":2372,"showCount":2373,"zanCount":1337,"manualWeight":48,"mainColor":94},223629,"he-hua-tu-yi-ming-223629","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[7,209,23,24,225,27,28,83,227,137,781,783,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,{"id":2375,"slug":2376,"title":2377,"dynasty":18,"author":1721,"museum":206,"description":2378,"tags":2379,"thumbUrl":2382,"material":123,"size":2383,"collection":90,"collections":2384,"showCount":2373,"zanCount":857,"manualWeight":48,"mainColor":94},218393,"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[7,209,23,24,1352,28,27,1904,83,2380,658,1629,2381],"杏花","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[90],{"id":2386,"slug":2387,"title":2388,"dynasty":18,"author":2389,"museum":206,"description":2390,"tags":2391,"thumbUrl":2392,"material":409,"size":2393,"collection":90,"collections":2394,"showCount":2373,"zanCount":611,"manualWeight":48,"mainColor":94},215109,"sui-han-san-you-tu-zhao-meng-jian-215109","岁寒三友图","赵孟坚","莹净的纸面上，画家以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹著如星芒般的松针与墨影般的竹叶，将它们横斜置於画面中央。这三株折枝植物的组合，不但是一件写生佳作，同时画中岁寒三友－松、竹、梅的组合，又代表当时文人认为应该具备的节操与美德。",[7,23,24,173,244,402,226,403,263,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb649cf50efa4be46ecb8b6ea14056db.jpg","32.2×53.4cm",[90],{"id":2396,"slug":2397,"title":2398,"dynasty":18,"author":2399,"museum":677,"description":2400,"tags":2401,"thumbUrl":2406,"material":409,"size":2407,"collection":90,"collections":2408,"showCount":2409,"zanCount":1093,"manualWeight":48,"mainColor":94},218639,"mo-lan-tu-zheng-si-xiao-218639","墨兰图","郑思肖","这是一幅描绘两朵兰花的画，闲适而优雅，有一种侵入性的清晰。叶子是对称的，但花只在左边，重心稍微向左倾斜。叶子不多，但不是孤零零的散落，笔法轻重不一，大小不一，通篇使用淡墨，使画作更加优雅柔美。这幅画延续了南宋的写实风格，开创了元代文人画的先河。叶子分两组画，每组有三片叶子，笔法与图中对称，略带左右强调。笔触有轻有重，笔触准确。剑身略宽，给人以丰富和艳丽的美感。位于长叶子之间的短叶子，仍然用同样明亮的墨水和笔触绘制。画的是两朵花，一朵是盛开的四片花瓣，一朵是含苞待放的两片花瓣。两片长而弯曲的叶子被放在画框的底部中心，环绕着它们，这就是画的眼睛。花瓣也很饱满，笔触与画叶子的笔触相同。花蕊是用浓墨勾勒出来的，花的描绘方式是其他画作中所没有的。",[7,209,173,400,2352,406,2402,84,2403,2404,2405],"简笔","墨笔","文人花卉","水墨花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9c1a31515452db9f01aafbc38687bb.jpg","34.3x59.6",[90],570,{"id":2411,"slug":2412,"title":2413,"dynasty":189,"author":645,"museum":20,"description":2414,"tags":2415,"thumbUrl":2416,"material":409,"size":2417,"collection":90,"collections":2418,"showCount":2419,"zanCount":1104,"manualWeight":48,"mainColor":94},219899,"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[7,23,24,25,173,178,263,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米",[90],566,{"id":2421,"slug":2422,"title":2423,"dynasty":18,"author":676,"museum":1098,"description":2424,"tags":2425,"thumbUrl":2426,"material":409,"size":2427,"collection":42,"collections":2428,"showCount":2419,"zanCount":2209,"manualWeight":48,"mainColor":94},214884,"lian-she-tu-li-gong-lin-214884","莲社图","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[7,209,23,24,25,244,27,243,106,29,34,175,229,86,1163,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[42],{"id":2430,"slug":2431,"title":2432,"dynasty":54,"author":485,"museum":20,"description":2433,"tags":2434,"thumbUrl":2435,"material":67,"size":2436,"collection":328,"collections":2437,"showCount":2438,"zanCount":350,"manualWeight":48,"mainColor":94},221064,"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。\n字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。\n全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。\n此卷则为千年传世之本，首尾俱全。\n卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。\n研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。\n它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。\n卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[7,23,24,25,28,27,106,63,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。",[328,2097],564,{"id":2440,"slug":2441,"title":1330,"dynasty":189,"author":1442,"museum":206,"description":2442,"tags":2443,"thumbUrl":2444,"material":327,"size":139,"collection":163,"collections":2445,"showCount":2446,"zanCount":1009,"manualWeight":48,"mainColor":94},218759,"zhu-shi-tu-ni-zan-218759","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[7,23,209,24,225,173,244,229,226,865,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg",[163],561,{"id":2448,"slug":2449,"title":2450,"dynasty":54,"author":2451,"museum":2452,"description":2453,"tags":2454,"thumbUrl":2455,"material":2164,"size":2165,"collection":139,"collections":2456,"showCount":2457,"zanCount":972,"manualWeight":48,"mainColor":49},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[7,209,23,225,26,27,28,29,107,174,106,109,1365,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg",[],556,{"id":2459,"slug":2460,"title":2461,"dynasty":18,"author":553,"museum":20,"description":2462,"tags":2463,"thumbUrl":2464,"material":2465,"size":2466,"collection":42,"collections":2467,"showCount":2468,"zanCount":1009,"manualWeight":48,"mainColor":49},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[7,23,209,24,25,173,177,29,229,865,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[42,181,163],555,{"id":2470,"slug":2471,"title":2472,"dynasty":189,"author":767,"museum":20,"description":2473,"tags":2474,"thumbUrl":2475,"material":1488,"size":2476,"collection":181,"collections":2477,"showCount":2478,"zanCount":1337,"manualWeight":48,"mainColor":94},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[7,23,24,225,173,177,29,34,176,109,37,35,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纵118.1厘米，横36.2厘米",[181,163],552,{"id":2480,"slug":2481,"title":2482,"dynasty":18,"author":2483,"museum":20,"description":2484,"tags":2485,"thumbUrl":2486,"material":573,"size":2487,"collection":42,"collections":2488,"showCount":2489,"zanCount":350,"manualWeight":48,"mainColor":49},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[7,23,24,25,26,27,29,176,34,31,107,1087,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[42,90,45],551,{"id":2491,"slug":2492,"title":2493,"dynasty":99,"author":2494,"museum":20,"description":2495,"tags":2496,"thumbUrl":2498,"material":1488,"size":2499,"collection":181,"collections":2500,"showCount":2501,"zanCount":2209,"manualWeight":48,"mainColor":94},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[7,23,24,209,225,27,29,177,2497,734,282,1365,108,468,558,34,1265,37],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[181,45],549,{"id":2503,"slug":2504,"title":2505,"dynasty":76,"author":336,"museum":20,"description":2506,"tags":2507,"thumbUrl":2509,"material":40,"size":2510,"collection":44,"collections":2511,"showCount":2512,"zanCount":2209,"manualWeight":48,"mainColor":94},222723,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-222723","乾隆皇帝大阅图轴","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[7,225,28,27,106,150,29,63,2508],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ee2f5e76e9f30efbdf7e15fcadde66.jpg","纵332.5厘米，横232厘米",[44],548,{"id":2514,"slug":2515,"title":1462,"dynasty":99,"author":100,"museum":447,"description":2516,"tags":2517,"thumbUrl":2518,"material":123,"size":2519,"collection":181,"collections":2520,"showCount":2512,"zanCount":2209,"manualWeight":48,"mainColor":49},218370,"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[7,23,209,28,27,177,29,34,558,106,109,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[181,44,45],{"id":2522,"slug":2523,"title":2524,"dynasty":76,"author":2525,"museum":311,"description":2526,"tags":2527,"thumbUrl":2528,"material":139,"size":139,"collection":90,"collections":2529,"showCount":2530,"zanCount":611,"manualWeight":48,"mainColor":94},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[7,23,24,25,27,28,178,263,83,84,512,369,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[90],537,{"id":2532,"slug":2533,"title":2534,"dynasty":189,"author":645,"museum":206,"description":2535,"tags":2536,"thumbUrl":2537,"material":123,"size":2538,"collection":44,"collections":2539,"showCount":2540,"zanCount":1009,"manualWeight":48,"mainColor":49},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[7,23,24,25,244,27,106,866,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[44],533,{"id":2542,"slug":2543,"title":2544,"dynasty":18,"author":746,"museum":20,"description":2545,"tags":2546,"thumbUrl":2548,"material":712,"size":139,"collection":328,"collections":2549,"showCount":2550,"zanCount":1104,"manualWeight":48,"mainColor":94},221304,"mo-ji-xuan-he-ji-su-shi-221304","墨迹选合集","苏轼（1037年1月8日-1101年8月24日），字子瞻、和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙，北宋著名文学家、书法家、画家，历史治水名人。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛” ；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。\n苏轼擅长写行书、楷书。他曾经遍学晋、唐、五代的各位名家之长，再将王僧虔、徐浩、李邕、颜真卿、杨凝式等名家的创作风格融会贯通后自成一家。他曾自称：“我书造意本无法”、“自出新意，不践古人”。\n黄庭坚称他：“早年用笔精到，不及老大渐近自然。”这说明苏轼一生屡经坎坷，致使他的书法风格跌宕。存世作品有《赤壁赋》、《黄州寒食诗》和《祭黄几道文》等帖。",[7,86,178,263,25,2547],"墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2948e558a0b160e7d1fa1c38962ea6ba.jpg",[328],531,{"id":2552,"slug":2553,"title":2554,"dynasty":18,"author":2555,"museum":486,"description":2556,"tags":2557,"thumbUrl":2558,"material":123,"size":2559,"collection":42,"collections":2560,"showCount":2561,"zanCount":441,"manualWeight":48,"mainColor":629},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[7,209,23,24,225,243,28,27,106,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[42,44],530,{"id":2563,"slug":2564,"title":2565,"dynasty":99,"author":397,"museum":311,"description":2566,"tags":2567,"thumbUrl":2571,"material":139,"size":139,"collection":139,"collections":2572,"showCount":2573,"zanCount":5,"manualWeight":48,"mainColor":94},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[7,23,24,225,173,400,401,2568,2569,606,607,86,2570],"泼墨","葡萄","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg",[],528,{"id":2575,"slug":2576,"title":1330,"dynasty":76,"author":1744,"museum":311,"description":2577,"tags":2578,"thumbUrl":2579,"material":699,"size":139,"collection":90,"collections":2580,"showCount":2573,"zanCount":1104,"manualWeight":48,"mainColor":94},220050,"zhu-shi-tu-zheng-ban-qiao-220050","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[7,23,24,225,173,400,178,263,226,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[90],{"id":2582,"slug":2583,"title":2584,"dynasty":204,"author":2585,"museum":311,"description":2586,"tags":2587,"thumbUrl":2589,"material":2164,"size":2165,"collection":139,"collections":2590,"showCount":2591,"zanCount":972,"manualWeight":48,"mainColor":49},289890,"wan-he-song-feng-tu-ju-ran-289890","万壑松风图","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[7,209,23,173,29,225,177,1365,466,109,108,107,557,2588],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":2593,"slug":2594,"title":2595,"dynasty":76,"author":77,"museum":1406,"description":1407,"tags":2596,"thumbUrl":2599,"material":1411,"size":1412,"collection":90,"collections":2600,"showCount":2591,"zanCount":1009,"manualWeight":48,"mainColor":94},221000,"hua-hui-tu-ce-dou-hua-shi-zhu-yun-shou-ping-221000","花卉图册·豆花石竹",[7,23,24,81,82,27,83,2597,2598],"豆花","石竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e5a05a9a06168177d3bb7fda38b174.jpg",[90,45],{"id":2602,"slug":2603,"title":2604,"dynasty":76,"author":77,"museum":206,"description":2605,"tags":2606,"thumbUrl":2609,"material":302,"size":2610,"collection":90,"collections":2611,"showCount":2612,"zanCount":1093,"manualWeight":48,"mainColor":94},220986,"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[7,23,24,225,28,27,83,264,2607,2608,783,266],"柳","燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","120.5×61.2",[90,45],522,{"id":2614,"slug":2615,"title":2616,"dynasty":18,"author":278,"museum":56,"description":2617,"tags":2618,"thumbUrl":2619,"material":123,"size":139,"collection":44,"collections":2620,"showCount":2612,"zanCount":1314,"manualWeight":48,"mainColor":49},214860,"mo-gu-kai-zhi-luo-shen-fu-tu-di-er-juan-yi-ming-214860","摹顾恺之洛神赋图（第二卷）","摹顾恺之洛神赋图（第二卷）是宋朝佚名画家的一幅作品。这幅画描绘了洛神，她是中国神话中的一位美丽的仙女，被认为是花的化身。洛神赋图是一组描绘洛神的图画，可能是以绘画的形式来记录洛神的故事。这幅画的风格典雅，线条流畅，色彩明快，极富表现力。",[7,105,23,25,244,27,106,433,1755,29,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e06b4414fc9a2b292ec17325cf42bd.jpg",[44],{"id":2622,"slug":2623,"title":2624,"dynasty":189,"author":645,"museum":206,"description":2625,"tags":2626,"thumbUrl":2627,"material":409,"size":2628,"collection":328,"collections":2629,"showCount":2630,"zanCount":1314,"manualWeight":48,"mainColor":94},214219,"xue-qing-yun-san-tie-zhao-meng-fu-214219","雪晴云散帖","雪晴云散帖是元代诗人赵孟頫的一首代表作。\n\n赵孟頫（1254年-1322年），字少华，元代诗人、书法家。他是元代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格清新、婉转，有浓厚的写实感，被认为是元代文学中的经典之作。\n\n雪晴云散帖是赵孟頫的一首著名诗作，其中描写了雪晴云散的风景。这首诗的气势磅礴，描写了雪晴云散的美丽景色，表达了作者对自然的崇敬之情。诗中还描写了雪晴云散周围的风光，表现出作者对自然的热爱。\n\n整首诗的意境深远，描写细腻，是赵孟頫的代表作之一，也是元代文学中的经典之作。",[7,86,178,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf97c8e30e41854d8a25d009cbe353ee.jpg","51.9x24.8",[328],521,{"id":2632,"slug":2633,"title":2634,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":2636,"thumbUrl":2637,"material":2164,"size":2165,"collection":139,"collections":2638,"showCount":2639,"zanCount":1337,"manualWeight":48,"mainColor":94},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[7,209,23,173,225,83,227,229,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg",[],519,{"id":2641,"slug":2642,"title":2643,"dynasty":54,"author":2644,"museum":311,"description":2645,"tags":2646,"thumbUrl":2648,"material":123,"size":139,"collection":181,"collections":2649,"showCount":2639,"zanCount":441,"manualWeight":48,"mainColor":49},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[7,209,23,25,27,29,1775,865,266,174,176,31,34,2019,2647],"小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[181],{"id":2651,"slug":2652,"title":2653,"dynasty":189,"author":1442,"museum":206,"description":2654,"tags":2655,"thumbUrl":2656,"material":409,"size":2657,"collection":181,"collections":2658,"showCount":2659,"zanCount":1104,"manualWeight":48,"mainColor":94},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[7,23,24,225,173,29,177,175,865,229,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[181,163],518,{"id":2661,"slug":2662,"title":2663,"dynasty":18,"author":278,"museum":311,"description":2664,"tags":2665,"thumbUrl":2666,"material":123,"size":2667,"collection":42,"collections":2668,"showCount":2659,"zanCount":2209,"manualWeight":48,"mainColor":49},214257,"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[7,209,23,24,225,104,27,29,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[42],{"id":2670,"slug":2671,"title":2672,"dynasty":76,"author":336,"museum":20,"description":2673,"tags":2674,"thumbUrl":2679,"material":40,"size":2680,"collection":181,"collections":2681,"showCount":2682,"zanCount":441,"manualWeight":48,"mainColor":49},222770,"wu-rui-tu-lang-shi-ning-222770","午瑞图","这是一幅近似于欧洲静物画的作品，青瓷瓶内插着蒲草叶、石榴花和蜀葵花，托盘里盛有李子和樱桃，几个粽子散落一旁。图中的粽子、蒲草等物暗示此画是为中国的传统节日——端午节而绘制的。就构图而言，画中物品聚散有致，呈正三角形布局，给人的视觉以稳定感。而绘制方法则采用色彩深浅及光影明暗的变化展示花叶、水果和瓷瓶的立体感，尤其是瓷瓶肩部见于欧洲绘画而中国画绝无的“高光”手法，能令观者清晰地体会到西方油画的技巧。虽然画面没有落年款，但根据清内务府造办处的档案记载，此图应作于雍正十年（1732年），属郎世宁在中国的早期作品。\n作为异域来客，为了使基督教广布中国，明末清初抵华的众多传教士们采取了将东西方文化相融合，而后循序渐进地推行教义的传教策略，郎世宁无疑是一位彻底的实践者。尽管此图中他对静物的表现技法源自欧洲油画，然而其内容反映的却是蕴含华夏民族两千余年文化精髓的风俗。正是由于借助兼得中外、博取东西的折衷技巧与迎合中国皇帝趣味的题材择选，才使郎世宁成为深得雍正、乾隆两位帝王赏识、并且大加重用的西洋画家，他有为数不少的画作存世亦得益于此。",[7,23,28,27,2675,315,2676,84,2267,2677,263,2678],"中西结合","青瓷","粽子","静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cf54c3f7bd81efc6632c675afac9c4.jpg","纵140厘米，横84厘米",[181,45],514,{"id":2684,"slug":2685,"title":2686,"dynasty":76,"author":77,"museum":1406,"description":1407,"tags":2687,"thumbUrl":2688,"material":1411,"size":1412,"collection":45,"collections":2689,"showCount":2690,"zanCount":1104,"manualWeight":48,"mainColor":94},220997,"hua-hui-tu-ce-zhu-shi-tu-yun-shou-ping-220997","花卉图册·竹石图",[7,23,24,27,81,82,226,229,928,2267,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddb009d00a9d8acb3b4ebc9060d819d.jpg",[45,1896],511,{"id":2692,"slug":2693,"title":2694,"dynasty":76,"author":1744,"museum":311,"description":2695,"tags":2696,"thumbUrl":2697,"material":712,"size":2698,"collection":90,"collections":2699,"showCount":2700,"zanCount":1093,"manualWeight":48,"mainColor":94},223295,"mo-zhu-zheng-ban-qiao-223295","墨竹","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[7,23,225,173,86,178,226,263,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","38*138CM",[90,163],509,{"id":2702,"slug":2703,"title":2704,"dynasty":277,"author":2705,"museum":311,"description":2706,"tags":2707,"thumbUrl":2709,"material":2164,"size":2165,"collection":139,"collections":2710,"showCount":2711,"zanCount":1337,"manualWeight":48,"mainColor":49},231825,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231825","花园仕女图轴","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[7,209,23,225,28,27,106,59,2708,65,436],"枫叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5291d70d90c2e3367d896a803781d8cf.jpg",[],507,{"id":2713,"slug":2714,"title":2715,"dynasty":99,"author":170,"museum":56,"description":2716,"tags":2717,"thumbUrl":2718,"material":699,"size":2719,"collection":139,"collections":2720,"showCount":2721,"zanCount":1104,"manualWeight":48,"mainColor":94},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[7,23,24,173,177,178,86,263,29,175,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":2723,"slug":2724,"title":335,"dynasty":76,"author":278,"museum":20,"description":337,"tags":2725,"thumbUrl":2727,"material":123,"size":2728,"collection":44,"collections":2729,"showCount":2730,"zanCount":2209,"manualWeight":48,"mainColor":49},214678,"xiao-sheng-xian-huang-hou-chao-fu-xiang-yi-ming-214678",[7,23,28,27,106,341,340,342,2726],"珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631a192117b99cc7e5402bb134df43bd.jpg","248.7x116.8",[44],501,{"id":2732,"slug":2733,"title":2734,"dynasty":99,"author":1362,"museum":206,"description":2735,"tags":2736,"thumbUrl":2737,"material":88,"size":2738,"collection":181,"collections":2739,"showCount":2740,"zanCount":972,"manualWeight":48,"mainColor":94},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[7,23,24,225,27,29,106,178,263,28,177,734,1365,175,109,108,384,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[181,163],498,{"id":2742,"slug":2743,"title":2744,"dynasty":204,"author":1839,"museum":260,"description":2745,"tags":2746,"thumbUrl":2749,"material":409,"size":2750,"collection":181,"collections":2751,"showCount":2740,"zanCount":1009,"manualWeight":48,"mainColor":49},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[7,209,23,24,25,173,177,29,2747,34,557,37,174,109,2748,175],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[181,163],{"id":2753,"slug":2754,"title":2755,"dynasty":189,"author":921,"museum":2756,"description":2757,"tags":2758,"thumbUrl":2759,"material":88,"size":2760,"collection":90,"collections":2761,"showCount":2762,"zanCount":857,"manualWeight":48,"mainColor":94},216741,"wu-wang-zui-gui-tu-ren-ren-fa-216741","五王醉归图","上海龙美术馆","《五王醉归图》出自元代画坛巨匠任仁发之手，描绘唐玄宗登基前，与四位兄弟出游饮宴，醉后策马归途的景象。据《旧唐书》记载，唐玄宗登基前，在兴庆坊西南方置楼，常邀诸王宴饮，赋诗燕嬉，感情深厚。本幅便是描绘其身为临淄王时醉后策马的景象。画中主角包括李隆基长兄宋王李宪、二兄申王李撝、四弟岐王李范，以及五弟薛王李业，另尚有四名侍从，合乘九匹骏马。\n任仁发的画马成就，堪与同时代的赵孟頫媲美。 《五王醉归图》是其笔下罕见的纸本作品，宋笺纸质细密，包浆良好，色彩明亮；用笔轻松自然，整幅线条勾勒凝练潇洒，人马排列为平铺式构图，是唐人造型和元人用笔之结合。",[7,23,24,25,28,27,106,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3028cb21d01ead2581ac3d3aa2d0dcc1.jpg","35x368cm",[90],497,{"id":2764,"slug":2765,"title":2766,"dynasty":99,"author":100,"museum":222,"description":2767,"tags":2768,"thumbUrl":2769,"material":123,"size":2770,"collection":44,"collections":2771,"showCount":2762,"zanCount":2209,"manualWeight":48,"mainColor":94},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[7,23,25,24,28,27,104,29,106,107,175,108,109,226,34,176,115,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[44],{"id":2773,"slug":2774,"title":2775,"dynasty":76,"author":336,"museum":206,"description":2776,"tags":2777,"thumbUrl":2778,"material":573,"size":2779,"collection":90,"collections":2780,"showCount":2781,"zanCount":972,"manualWeight":48,"mainColor":255},222780,"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","此图是郎世宁花鸟画的代表作。画面描绘一对绚丽丰润的仙鹤，和两只小鹤。一只仙鹤阔步行走回首下顾，注视着满身细毛茸茸的小鹤；另一只仙鹤转颈整理羽毛，一脚举起，神态安详。他吸收并采用中国画的传统技法，糅合中西画法进行创作。是二百年前外来文化“中国化”的尝试，是别具一格的杰作。",[7,225,28,27,83,60,691,229,284,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","170.7厘米×93.1厘米.",[90,45],495,{"id":2783,"slug":2784,"title":1979,"dynasty":18,"author":1419,"museum":1666,"description":2785,"tags":2786,"thumbUrl":2791,"material":2792,"size":2793,"collection":42,"collections":2794,"showCount":2781,"zanCount":972,"manualWeight":48,"mainColor":49},221665,"han-jiang-du-diao-tu-ma-yuan-221665","此画是宋代马远创作的一幅山水画。这幅画作者以严谨的铁线描，画一叶扁舟，上有一位老翁俯身垂钓，船旁以淡墨寥寥数笔勾出水纹，四周都是空白。画家画得很少，但画面并不空。反而令人觉得江水浩渺，寒气逼人。而且还觉得空白之处有一种语言难以表述的意趣，是空疏寂静，还是萧条淡泊，真令人思之不尽。这种诗—般耐人寻味的境界，是画家的心灵与自然结合的产物，在艺术上则是利用虚实结合而产生的结果。",[7,209,23,173,2787,2788,106,174,1542,2789,2790],"留白","一角构图","寒江","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4397a99a1aaf5d5a5c49c8a75c016bec.jpg","绢本，水墨淡彩","纵26.7厘米，横50.6厘米",[42,181,45],{"id":2796,"slug":2797,"title":2798,"dynasty":18,"author":418,"museum":206,"description":2799,"tags":2800,"thumbUrl":2802,"material":123,"size":2803,"collection":42,"collections":2804,"showCount":2781,"zanCount":5,"manualWeight":48,"mainColor":49},219194,"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[7,209,23,24,225,28,27,83,2801,284],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[42,90,45],{"id":2806,"slug":2807,"title":2808,"dynasty":76,"author":582,"museum":447,"description":2809,"tags":2810,"thumbUrl":2811,"material":88,"size":2812,"collection":44,"collections":2813,"showCount":2814,"zanCount":1104,"manualWeight":48,"mainColor":94},219543,"mei-ren-tu-leng-mei-219543","美人图","这幅画被称为美人画（“美人画”），传统可以追溯到唐代（618-906）周放（约730-800）的画作。 这位女士坐在质朴的座位上，手里拿着一本书。 她随意的姿势、精致的外表和透明的衣着表明冷梅可能一直在描绘一个妓女。 艺术家的技巧可以从纺织品设计的细腻渲染和帷幔的流畅线条中看出。",[7,23,28,27,106,59,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1e3b4f1eb980004fca2e6dfb0e546.jpg","纵90 厘米横31 厘米",[44],489,{"id":2816,"slug":2817,"title":2818,"dynasty":189,"author":1539,"museum":206,"description":2819,"tags":2820,"thumbUrl":2821,"material":409,"size":139,"collection":90,"collections":2822,"showCount":2814,"zanCount":1314,"manualWeight":48,"mainColor":94},216597,"mo-zhu-pu-ce-ye-wu-zhen-216597","墨竹谱册页","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[7,23,24,209,81,173,263,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4166808e7bc40a42f776572d6d7608.jpg",[90],{"id":2824,"slug":2825,"title":2826,"dynasty":189,"author":278,"museum":2827,"description":2828,"tags":2829,"thumbUrl":2830,"material":538,"size":2831,"collection":139,"collections":2832,"showCount":2833,"zanCount":1009,"manualWeight":48,"mainColor":49},221842,"yong-le-gong-bi-hua-san-qing-dian-bi-hua-chao-yuan-tu-yi-ming-221842","永乐宫壁画三清殿壁画朝元图","山西永乐宫","永乐宫在山西最南端的芮城县郊外，《朝元图》在永乐宫的三清殿（又名无极殿）内，是永乐宫壁画中的重点，画幅面积为403.34平方米，主尊人物高达3米，最低的也有2米，共绘人物近300身，距今近700多年，是留存下来的最精彩的元代壁画。永乐宫始建于元代全真教兴盛时期，宫殿内部的墙壁上，布满了精心绘制的壁画，其艺术价值之高，数量之多，实属世上罕见。\n该壁画泰定三年（1325年）由河南画家马君详、马七等人绘制而成，描绘了诸神朝拜元始天尊的故事。画面上共有人物 290个左右，以8个高3米的主像（南极、北极、东极、玉皇、勾陈、木公、后土、金母）为中心，其余人物按对称仪仗形式排列，以南墙的青龙、白虎星君为前导，分别画出天帝、王母等28 位主神。围绕主神，28宿、12宫辰等“天兵天将”在画面上徐徐展开。画中主像庄严肃穆，群像环立，形象丰满圆润，个个神采奕奕，无一雷同。他们之间有的对语，有的倾听，有的沉思，有的注视，神情姿态彼此呼应，成为有机的整体。整个画面，气势不凡，场面浩大。\n壁画中人物服饰冠戴华丽辉煌，衣纹多用吴道子“莼菜条”线条，用笔劲健而流畅，既含蓄又有力度，衣带飞舞飘逸，有如满墙风动，充分发挥了线条的高度表现力。用色方面，采用重彩勾填，色彩厚重而丰富，绚烂而协调，道具在背景上都富有装饰性，在冠戴、衣襟、薰炉等处沥粉贴金，绚烂夺目。",[7,538,243,28,27,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3db7198209c86d23475d84a3d7cee5.jpg","426×9468cm",[],484,{"id":2835,"slug":2836,"title":2837,"dynasty":99,"author":2838,"museum":132,"description":2839,"tags":2840,"thumbUrl":2841,"material":409,"size":2842,"collection":181,"collections":2843,"showCount":2833,"zanCount":1314,"manualWeight":48,"mainColor":94},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[7,23,24,29,173,177,225,734,384,106,175,109,229,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[181],{"id":2845,"slug":2846,"title":2847,"dynasty":189,"author":278,"museum":132,"description":2848,"tags":2849,"thumbUrl":2851,"material":123,"size":2852,"collection":90,"collections":2853,"showCount":2854,"zanCount":1104,"manualWeight":48,"mainColor":49},216732,"ju-hua-xiao-niao-tu-yi-ming-216732","菊花小鸟图","菊花小鸟图 是一幅来自中国元朝时期的著名图画。这幅图画被认为是元朝时期最著名的菊花图案之一，也是当时最具代表性的艺术品之一。\n\n这幅图画中的小鸟是鸟类中常见的山雀，它们正在菊花丛中欢快地嬉戏。菊花是中国传统文化中非常重要的象征，象征着品德高尚、忠诚可靠。在这幅图画中，菊花丛与小鸟的自然互动，展现出人与自然和谐相处的美好愿景。\n\n虽然这幅图画的作者并不是众所周知的，但它仍然是元朝时期艺术史上的重要作品，在当时的艺术市场上也颇受欢迎。如今，菊花小鸟图仍然是许多人所熟知和喜爱的著名图画之一。",[7,23,28,27,83,692,2850],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8acc0d8c6d4a1dedbc8b9a6a108b16.jpg","22.5x26.6cm",[90],479,{"id":2856,"slug":2857,"title":2858,"dynasty":99,"author":936,"museum":447,"description":2859,"tags":2860,"thumbUrl":2861,"material":88,"size":2862,"collection":44,"collections":2863,"showCount":2864,"zanCount":1337,"manualWeight":48,"mainColor":49},219532,"ma-gu-xian-shou-tu-chen-hong-shou-219532","麻姑献寿图","“麻姑献寿”是传统绘画特别是民间年画的常见题材。传说三月三日西王母寿辰，麻姑在绛珠河畔以灵芝酿酒，为王母祝寿。麻姑是神话人物，晋代葛洪《神仙传》说她是建昌人，修道于牟州东南姑余山。此画描写麻姑和侍女二人，均面相端庄美丽。麻姑一手执仙杖，杖端系有盛灵芝酒的宝葫芦，另一手执玉盘。衣纹用线钩勒粗简方折，而衣上带图案的银白色花纹却描绘得极工细匀整，既素雅又华丽，显示出人物的非凡身份和在祝寿的特定情境中对寿者(西王母)的尊敬和虔诚。麻姑身后的侍女双手捧花瓶，瓶插雪白的梅花和红艳的山茶花，与麻姑面向一致，目视前方，神情专注。",[7,23,24,225,28,27,106,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe811cb5aa985accd1f172e8ea3508614.jpg","190.2x104.6厘米",[44,45],478,{"id":2866,"slug":2867,"title":2868,"dynasty":18,"author":418,"museum":78,"description":2869,"tags":2870,"thumbUrl":2871,"material":2872,"size":2873,"collection":328,"collections":2874,"showCount":2875,"zanCount":350,"manualWeight":48,"mainColor":94},221340,"shou-jin-qian-zi-wen-zhao-ji-221340","瘦金千字文","《千字文》是赵佶以其最具个人风格之“瘦金体”书写，整体匀整峭拔，筋骨挺劲，清爽润朗，飘逸灵动，正所谓“铁画银钩”。此种书体取法唐代薛稷、薛曜，把楷书中瘦劲一路发挥到了极致，带有很强的装饰性，成为具有鲜明个人风格的一种书体。\n本卷为宋徽宗赵估于崇宁三年（1104年）二十三岁时书赐童贯。朱丝界栏， 素笺本，纵三十点九厘米，横三百二十二点一厘米，楷书，字大寸许，每行十字，前后百行。此卷原为清宫旧藏，著录于《石渠宝笈初编》，现藏上海博物馆，",[7,86,25,621,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a59fd9a6b1807f5c4769571d5723d63.jpg","素笺","纵30.9、横322.1厘米",[328],473,{"id":2877,"slug":2878,"title":2879,"dynasty":18,"author":553,"museum":206,"description":2880,"tags":2881,"thumbUrl":2884,"material":302,"size":2885,"collection":42,"collections":2886,"showCount":2887,"zanCount":1104,"manualWeight":48,"mainColor":49},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[7,209,23,24,225,173,29,107,108,2882,467,2883,263,105,177],"村居","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[42,181,163],472,{"id":2889,"slug":2890,"title":2891,"dynasty":76,"author":963,"museum":78,"description":2892,"tags":2893,"thumbUrl":2894,"material":409,"size":2895,"collection":181,"collections":2896,"showCount":2897,"zanCount":1104,"manualWeight":48,"mainColor":49},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[7,23,173,177,225,29,466,1365,176,35,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[181,163],469,{"id":2899,"slug":2900,"title":2901,"dynasty":99,"author":2902,"museum":206,"description":2903,"tags":2904,"thumbUrl":2905,"material":409,"size":2906,"collection":181,"collections":2907,"showCount":2908,"zanCount":1314,"manualWeight":48,"mainColor":94},214297,"kan-shu-tu-wang-fu-214297","勘书图","王绂","王绂的画风继承了元代文人画的传统，强调笔墨的情感和趣味，是明代中期吴门画派的先驱。这是一幅画，画的是溪边的一座桥，三棵树挺立着，在树木和石头之间有一个栅栏和一个小屋，还有一个隐士坐在一个开放的亭子里看书。笔法优雅，墨色丰富，是即兴创作的杰作。",[7,23,225,29,173,177,734,282,384,558,108,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[181],468,{"id":2910,"slug":2911,"title":2912,"dynasty":99,"author":100,"museum":206,"description":2913,"tags":2914,"thumbUrl":2915,"material":2916,"size":2917,"collection":90,"collections":2918,"showCount":2919,"zanCount":1314,"manualWeight":48,"mainColor":94},220126,"shui-xian-la-mei-tu-chou-ying-220126","水仙腊梅图","仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[7,23,24,28,27,83,405,1291,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","设色,绢本","纵47厘米，横25厘米",[90],467,{"id":2921,"slug":2922,"title":2923,"dynasty":76,"author":2924,"museum":206,"description":2925,"tags":2926,"thumbUrl":2928,"material":88,"size":2929,"collection":90,"collections":2930,"showCount":2931,"zanCount":1314,"manualWeight":48,"mainColor":94},220335,"cao-chong-hua-hui-hu-shi-si-ping-zi-wei-ju-lian-220335","草虫花卉湖石四屏-紫薇","居廉","居廉对岭南画派的影响十分深远，岭南画派创始人高剑父、陈树人均师从居廉。“二居”所创立的十香园成为岭南画派发源之地，当时岭南绘画界八成以上的人都出自十香园门下或是经受过二居绘画艺术的熏陶，在中国美术史上垂名的杰出弟子多达三十余人。二居以革命精神开创的“撞水”、“撞粉”技法被后来者沿袭至今，二居、二高一陈富于创新的革命艺术精神更使得岭南画派开一时风气之先，在中国画坛独领风骚。",[7,23,24,83,28,27,84,511,229,606,2927,954],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[90],464,{"id":2933,"slug":2934,"title":2935,"dynasty":99,"author":170,"museum":20,"description":2936,"tags":2937,"thumbUrl":2938,"material":527,"size":2939,"collection":181,"collections":2940,"showCount":2941,"zanCount":972,"manualWeight":48,"mainColor":94},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","此作曾在康熙年间被高士奇收藏，并著录于其《江村消夏录》。该作描绘万物竞发、重峦叠嶂、云蒸霞蔚、春水泛漾的春天景象。画面清新雅致，刻画细腻，具有元人画的风格。\n但此作历来有真伪之辩。《春云叠嶂图》的整体风格，似有些米家元素，虽同样横点干皴，但山峦单一，林木呆板，与沈周其他仿米真迹如《西山雨观图》相去甚远，完全不符沈周任何时期的书风。但究其题识，又非一般人所能书之。",[7,23,173,225,29,2279,176,34,109,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纵152.2厘米，横43.2厘米",[181,163],463,{"id":2943,"slug":2944,"title":2945,"dynasty":76,"author":2946,"museum":206,"description":2947,"tags":2948,"thumbUrl":2951,"material":123,"size":2952,"collection":44,"collections":2953,"showCount":2941,"zanCount":857,"manualWeight":48,"mainColor":94},219480,"mai-jiang-tu-yao-wen-han-219480","卖浆图","姚文瀚","这幅画是市场上卖纸浆的场景。 十个人，男女老少，聚在一起，或搅炉熬浆； 或者提着锅卖掉； 对纸浆和器物的描述细致入微。 整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[7,23,24,27,28,106,228,120,2949,436,2950,263],"民俗","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","59.3x108cm",[44,45],{"id":2955,"slug":2956,"title":2957,"dynasty":99,"author":170,"museum":2958,"description":2959,"tags":2960,"thumbUrl":2962,"material":88,"size":2963,"collection":181,"collections":2964,"showCount":2965,"zanCount":1009,"manualWeight":48,"mainColor":94},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[7,23,24,25,27,177,29,174,106,770,2961,34,109,176,867],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[181,45],460,{"id":2967,"slug":2968,"title":2969,"dynasty":1483,"author":1484,"museum":20,"description":1485,"tags":2970,"thumbUrl":2971,"material":1488,"size":1489,"collection":44,"collections":2972,"showCount":2973,"zanCount":972,"manualWeight":48,"mainColor":94},221041,"nv-shi-zhen-tu-juan-quan-juan-gu-kai-zhi-221041","女史箴图卷全卷",[7,23,24,25,244,28,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e325b86458ef996bbbc4b4e8cbd033.jpg",[44,163],458,{"id":2975,"slug":2976,"title":2977,"dynasty":18,"author":278,"museum":447,"description":2978,"tags":2979,"thumbUrl":2980,"material":123,"size":2981,"collection":181,"collections":2982,"showCount":2973,"zanCount":1009,"manualWeight":48,"mainColor":49},218620,"luo-shen-fu-tu-yi-ming-218620","洛神赋图","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[7,25,28,27,106,29,433,2278,2279,34,176,1087],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daa44aeeabdd0261586d0876b40f8f4.jpg","53.7x832.8",[181,42],{"id":2984,"slug":2985,"title":2986,"dynasty":76,"author":2987,"museum":447,"description":2988,"tags":2989,"thumbUrl":2990,"material":123,"size":139,"collection":90,"collections":2991,"showCount":2992,"zanCount":1104,"manualWeight":48,"mainColor":49},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[7,23,24,83,28,27,369,371,370,62,1906,853,176,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[90],456,{"id":2994,"slug":2995,"title":1330,"dynasty":189,"author":2996,"museum":20,"description":2997,"tags":2998,"thumbUrl":2999,"material":88,"size":3000,"collection":90,"collections":3001,"showCount":2992,"zanCount":1337,"manualWeight":48,"mainColor":49},214307,"zhu-shi-tu-li-kan-214307","李衎","这幅画中的竹子被整齐而优雅地画上了双色的轮廓，显示了大自然在春天的重生，老竹子旁边有两棵新竹子，让人想起雨后发芽的春笋。山坡上的悬崖被涂成漂亮的厚重的黑色，以突出形成的角落，岩石后面的小竹子和野树增加了多样性。",[7,209,23,24,225,173,177,226,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05faafdaaa730a5ac24d211025a2689.jpg","185.5x153.7",[90],{"id":3003,"slug":3004,"title":3005,"dynasty":18,"author":2039,"museum":206,"description":3006,"tags":3007,"thumbUrl":3009,"material":67,"size":3010,"collection":42,"collections":3011,"showCount":3012,"zanCount":441,"manualWeight":48,"mainColor":49},221490,"hua-lan-tu-li-song-221490","花篮图","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[7,209,23,24,81,28,27,83,228,3008,369,989,84,607],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 x 26.3公分",[42,90,45],454,{"id":3014,"slug":3015,"title":3016,"dynasty":18,"author":746,"museum":206,"description":3017,"tags":3018,"thumbUrl":3025,"material":699,"size":3026,"collection":328,"collections":3027,"showCount":3028,"zanCount":972,"manualWeight":48,"mainColor":94},221307,"han-shi-shi-su-shi-221307","寒食诗","《寒食帖》又名《黄州寒食诗帖》或《黄州寒食帖》。是苏轼撰诗并书，墨迹素笺本，行书十七行，129字，现藏台北故宫博物院，那时苏轼因宋朝最大的文字狱，被贬黄州第三年的寒食节作了二首五言诗：“自我来黄州，已过三寒食。年年欲惜春，春去不容惜。今年又苦雨，两月秋萧瑟。卧闻海棠花，泥污燕支雪。暗中偷负去，夜半真有力，何殊病少年，病起须已白。”；“春江欲入户，雨势来不已。小屋如渔舟，蒙蒙水云里。空庖煮寒菜，破灶烧湿苇。那知是寒食，但见乌衔纸。君门深九重，坟墓在万里。也拟哭途穷，死灰吹不起。”\n此帖是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发的 人生之叹。诗写得苍凉多情，表达了苏轼此时惆怅孤独的心情。此诗的书法也正是在这种心情和境况下，有感 而出的。通篇书法起伏跌宕，光彩照人，气势奔放，而无荒率之笔。《寒食诗帖》在书法史上影响很大， 被称为“天下第三行书”，也是苏轼书法作品中的上乘。正如黄庭坚在此诗后所跋：“此书兼颜鲁公，杨少师， 李西台笔意，试使东坡复为之，未必及此。",[7,86,178,25,263,173,1116,3019,3020,2279,3021,3022,3023,3024],"江","雨","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","横34.2厘米，纵18.9厘米",[328],452,{"id":3030,"slug":3031,"title":3032,"dynasty":99,"author":1362,"museum":78,"description":3033,"tags":3034,"thumbUrl":3035,"material":123,"size":139,"collection":44,"collections":3036,"showCount":3028,"zanCount":1009,"manualWeight":48,"mainColor":255},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[7,23,24,25,27,29,106,34,770,1365,86,178,263,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[44,181],{"id":3038,"slug":3039,"title":3040,"dynasty":54,"author":616,"museum":206,"description":3041,"tags":3042,"thumbUrl":3043,"material":712,"size":3044,"collection":328,"collections":3045,"showCount":3046,"zanCount":1314,"manualWeight":48,"mainColor":94},221059,"ji-zhi-wen-gao-quan-juan-yan-zhen-qing-221059","祭侄文稿全卷","《祭侄文稿》与东晋王羲之的《兰亭序》、北宋苏轼的行书《黄州寒食帖》并称为“天下三大行书”，亦被誉为“天下行书第二”。且此稿是在极度悲愤的情绪下书写，不顾笔墨之工拙，故字随书家情绪起伏，纯是精神和平时工力的自然流露。这在整个书法史上都是不多见的，故《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一。",[7,86,178,25,263,1115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625900b54f9cdc3eb453d3c2fceb3e38.jpg","纵28.3厘米，横75.5厘米",[328,2097],451,{"id":3048,"slug":3049,"title":3050,"dynasty":18,"author":3051,"museum":206,"description":3052,"tags":3053,"thumbUrl":3054,"material":27,"size":3055,"collection":45,"collections":3056,"showCount":3046,"zanCount":441,"manualWeight":48,"mainColor":49},219050,"zhen-guo-tu-qian-xuan-219050","珍果图","钱选","果篮静卧素绢间，缠枝纹饰与环扣精巧，线条婉转如流泉绕石。篮中珍果错落，桃实丰腴带粉晕，叶瓣脉络分明，翠色欲滴处间杂赭红，似凝着晨露的润意。叶片边缘微卷，若有风过轻颤。色彩晕染细腻却不艳俗，绢本的古雅底色衬得果物愈发温润。笔触工致中藏文人清逸，无匠气之拘，寻常果实成诗中意象，藏宋人的生活雅趣与自然观照。细节处见沉静美感，如摩挲旧物，触得到时光沉淀的温润。每一笔都似含着慢时光里的用心，将日常小景绘成耐品的雅致画卷。",[7,209,23,28,27,2267,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae85b115ae664ba777870700c2dcc5d.jpg","25.6x26.3",[45],{"id":3058,"slug":3059,"title":3060,"dynasty":76,"author":963,"museum":1098,"description":1099,"tags":3061,"thumbUrl":3062,"material":88,"size":139,"collection":90,"collections":3063,"showCount":3046,"zanCount":2209,"manualWeight":48,"mainColor":94},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图",[7,23,24,209,81,173,27,400,227,137,1554,285,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[90],{"id":3065,"slug":3066,"title":3067,"dynasty":189,"author":645,"museum":20,"description":3068,"tags":3069,"thumbUrl":3070,"material":3071,"size":3072,"collection":328,"collections":3073,"showCount":3074,"zanCount":611,"manualWeight":48,"mainColor":94},220855,"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[7,209,23,24,25,178,86,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[328],449,{"id":3076,"slug":3077,"title":3078,"dynasty":99,"author":397,"museum":1529,"description":3079,"tags":3080,"thumbUrl":3083,"material":699,"size":3084,"collection":181,"collections":3085,"showCount":3086,"zanCount":48,"manualWeight":48,"mainColor":49},222233,"za-hua-tu-xu-wei-222233","杂花图","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[7,23,24,25,173,401,86,369,1153,136,2341,692,3081,3082,2927,2569,226],"南瓜","扁豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米",[181,163],448,{"id":3088,"slug":3089,"title":3090,"dynasty":189,"author":3051,"museum":1098,"description":3091,"tags":3092,"thumbUrl":3093,"material":88,"size":3094,"collection":44,"collections":3095,"showCount":3086,"zanCount":5,"manualWeight":48,"mainColor":94},220289,"yang-gui-fei-shang-ma-tu-qian-xuan-220289","杨贵妃上马图","《杨贵妃上马图》描绘唐玄宗与贵妃杨玉环准备出游的情景，玄宗骑马在前，回头望着贵妃，贵妃在两侍女协助下正往马鞍上爬，娇态毕现。\n作品构图接近唐代，人物分组而呈错落有致的横向排列，以人物间的顾盼联系各段，将全画串联起来，犹同舞台效果。\n《杨贵妃上马图》收录于《石渠宝笼续编·御书房》，画卷上现在仍可以清楚看到“御书房鉴藏宝”、“乾隆御览之宝”、“嘉庆御览之宝”等印，居中位置可看到“宣统御览之宝”的字样。说明一直为皇室所收藏，但不见《佚目》记载，未便肯定为《佚目》外的“东北货”。清王朝覆灭后，“末代皇帝”溥仪对故官藏画进行整理时，此画还在官中。后来随着太监的盗卖、溥仪对弟弟溥杰的“赏赐”以及其他流失途径，流出宫外，为湖州张珩购得，后经其叔张叔驯携带到美国出售他人，此画便流出国门，后进入美国弗利尔美术馆。",[7,23,24,25,28,27,106,59,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff618d905a3604488c129f373b3e069d1.jpg","纵29.5厘米，横117厘米",[44,45],{"id":3097,"slug":3098,"title":3099,"dynasty":76,"author":3100,"museum":447,"description":3101,"tags":3102,"thumbUrl":3103,"material":123,"size":139,"collection":44,"collections":3104,"showCount":3086,"zanCount":350,"manualWeight":48,"mainColor":49},219574,"tian-nv-san-hua-tu-xu-mei-219574","天女散花图","徐玫","此作中天女身姿婉柔，发髻轻簪雅饰，宽袖长裙随云舒卷，衣带如流风回雪，将凌虚而行的轻盈尽显。她手托花盏，眉目低垂含婉，似正将满捧花雨播向凡尘。细劲灵动的墨线勾勒仙袂翩跹的柔美，淡彩晕染裙间纹饰，古旧绢底晕开朦胧云霭，愈衬得天女出尘脱俗，仿佛携着缥缈仙气自云间缓步而来，将神女温婉端丽与飘逸灵动融为一体，尽显清丽秀雅的仕女画格调，余韵悠然绵长。",[7,23,24,225,28,27,106,59,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c2b641db2cfe3c536c5c9f958366b5.jpg",[44,45],{"id":3106,"slug":3107,"title":3108,"dynasty":99,"author":278,"museum":206,"description":3109,"tags":3110,"thumbUrl":3113,"material":123,"size":3114,"collection":44,"collections":3115,"showCount":3086,"zanCount":350,"manualWeight":48,"mainColor":49},214833,"ru-bi-tu-yi-ming-214833","入跸图","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[7,209,23,25,28,27,106,107,34,113,247,3111,3112],"皇家出行","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg","92.10x3003.6",[44],{"id":3117,"slug":3118,"title":3119,"dynasty":18,"author":1721,"museum":311,"description":3120,"tags":3121,"thumbUrl":3122,"material":139,"size":139,"collection":139,"collections":3123,"showCount":3124,"zanCount":2209,"manualWeight":48,"mainColor":49},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。\n赵昌，字昌之，北宋时期（公元11世纪)，广汉剑南（今四川剑阁之南）人，生卒年不详。性情爽直高傲，刚正不阿。时州伯邵牧争求笔迹，不肯轻与。\n工书，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后过其艺，亦效徐崇嗣“没骨法”，常于清晨朝露未干，围绕花圃观察花木神态，调色描绘，自号“写生赵昌”。当时盛行厚彩重色，而赵昌所作一片平滑，明润匀薄，活色生香。真宗大中祥符（1008-1016）间，声誉益隆。丁朱崖奉白金五百为寿，昌感其意，亲往谢之。此时，朱崖邀其至东阁，求画生菜数窠及烂瓜生果等，昌挥笔遽成而去。晚年其自矜所作，往往深藏不市，若见自家画作流落市井，则复自购以归之，故世罕传。",[7,23,24,225,28,27,83,402,226,370,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],447,{"id":3126,"slug":3127,"title":3128,"dynasty":76,"author":963,"museum":1098,"description":1099,"tags":3129,"thumbUrl":3130,"material":88,"size":139,"collection":90,"collections":3131,"showCount":3132,"zanCount":1009,"manualWeight":48,"mainColor":94},218131,"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图",[7,23,24,83,173,27,264,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[90],446,{"id":3134,"slug":3135,"title":3136,"dynasty":76,"author":278,"museum":311,"description":3137,"tags":3138,"thumbUrl":3139,"material":123,"size":139,"collection":44,"collections":3140,"showCount":3132,"zanCount":1009,"manualWeight":48,"mainColor":49},216695,"hong-lou-meng-fu-tu-ce-yi-ming-216695","红楼梦赋图册","疏朗庭院间，虬枝松叶覆半面轩窗，雕花棂格透出彩绸轻曳。廊下女子或凭栏低语，或执扇凝眸；阶前二人衣袂相叠，似在话叙家常。坡上苔石生绿，丛花点染胭脂色，远处水榭隐于烟柳后，添几分悠远。淡彩晕染的笔触细腻勾勒园林景致，将红楼女儿的闲雅日常融于其间。温婉氛围如轻烟绕梁，既见深宅里的温柔情致，又藏着一丝难以言说的怅惘，似在静静诉说着那些藏于书页间的细腻心事。",[7,23,24,81,28,27,106,59,107,175,384,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf370b172b95445b5b66d2705d0e226e.jpg",[44],{"id":3142,"slug":3143,"title":3144,"dynasty":18,"author":1395,"museum":20,"description":3145,"tags":3146,"thumbUrl":3147,"material":123,"size":3148,"collection":181,"collections":3149,"showCount":3150,"zanCount":1009,"manualWeight":48,"mainColor":49},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[7,23,24,25,173,27,29,1268,109,176,106,177],"https:\u002F\u002Foss.chuangqi.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伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[7,23,24,27,106,1365,176,34,281,210,177,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[44],402,{"id":3425,"slug":3426,"title":1238,"dynasty":18,"author":1721,"museum":206,"description":3427,"tags":3428,"thumbUrl":3429,"material":123,"size":3430,"collection":90,"collections":3431,"showCount":3432,"zanCount":1009,"manualWeight":48,"mainColor":49},219031,"mu-dan-tu-zhao-chang-219031","湖石下的鸢尾花、兰花和灵芝，以及湖石后盛开的牡丹，让人眼前一亮。虽然丝绸已经发黄发旧，但仍有光泽的感觉。",[7,209,23,24,28,27,83,369,607,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8b5880085e0d0be159ea0e1946d21d.jpg","143.5x59.3",[90],397,{"id":3434,"slug":3435,"title":3436,"dynasty":18,"author":1419,"museum":132,"description":3437,"tags":3438,"thumbUrl":3439,"material":123,"size":3440,"collection":42,"collections":3441,"showCount":3432,"zanCount":1337,"manualWeight":48,"mainColor":94},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[7,209,23,24,81,104,27,177,29,107,1365,1265,176,34,37,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[42,181],{"id":3443,"slug":3444,"title":3445,"dynasty":189,"author":3446,"museum":101,"description":3447,"tags":3448,"thumbUrl":3449,"material":527,"size":3450,"collection":181,"collections":3451,"showCount":3452,"zanCount":2209,"manualWeight":48,"mainColor":49},221810,"song-xuan-chun-ai-tu-zhou-zhang-yu-221810","松轩春霭图轴","张羽","此图表现了春山“纵使晴明天雨色，入云深处亦沾衣”的意态。近景处坡石曲折，树林阴翳，一湾溪水逶迤而过，茅舍数椽隐于林中，静谧无人；中景山腰白云缭绕，亭台楼阁闪现其间；远景画一主峰突兀，山色浓重浑然。山石的结构以披麻皴勾写，层次丰富，脉络井然；山体以米氏横点层层积染，并以墨点和色点相互交错。尤其是主峰的刻画，丰富而充满生机，能与高克恭相媲美。全图笔调粗放，墨色氤氲，青、蓝、墨、赭，融合于一片春色之中。",[7,23,24,225,173,27,29,1365,37,557,34,177,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纵91.5cm，横31.5cm",[181,45],396,{"id":3454,"slug":3455,"title":3456,"dynasty":99,"author":2146,"museum":447,"description":3457,"tags":3458,"thumbUrl":3459,"material":123,"size":3460,"collection":44,"collections":3461,"showCount":3452,"zanCount":1314,"manualWeight":48,"mainColor":49},218350,"ren-wu-gu-shi-ce-tang-yin-218350","人物故事册","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[7,23,24,81,27,244,106,59,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f6934a53787d0888fc281c204938c0.jpg","32x40.5",[44],{"id":3463,"slug":3464,"title":3465,"dynasty":18,"author":3466,"museum":222,"description":3467,"tags":3468,"thumbUrl":3469,"material":327,"size":139,"collection":163,"collections":3470,"showCount":3452,"zanCount":48,"manualWeight":48,"mainColor":629},216203,"mo-long-tu-mu-xi-216203","墨龙图","牧溪","《墨龙图》是一幅大型轴测图，画了许多墨龙和其他动物。这幅画是在宋代的牧溪创作的，他是当时著名的画家、书法家。《墨龙图》被认为是牧溪最著名的作品之一，具有极高的艺术价值。在画面中，牧溪用细腻的线条勾勒出了各种各样的墨龙，并用色彩丰富的技巧表现出了它们的生动形态。在这幅画中，牧溪还用简洁流畅的书法笔触写下了许多墨色的标题，使得整幅画更加美观。",[7,23,24,173,433,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714c77b0db36c88aef70dba70858b677.jpg",[163],{"id":3472,"slug":3473,"title":3474,"dynasty":18,"author":3475,"museum":311,"description":3476,"tags":3477,"thumbUrl":3478,"material":67,"size":3479,"collection":44,"collections":3480,"showCount":3481,"zanCount":1314,"manualWeight":48,"mainColor":49},221325,"chao-yuan-xian-zhang-tu-wu-zong-yuan-221325","朝元仙仗图","武宗元","《朝元仙仗图》为北宋宗教画家 所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[7,209,23,24,25,244,243,106,107,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[44,163],395,{"id":3483,"slug":3484,"title":3485,"dynasty":189,"author":2996,"museum":20,"description":3486,"tags":3487,"thumbUrl":3488,"material":409,"size":3489,"collection":90,"collections":3490,"showCount":3491,"zanCount":1337,"manualWeight":48,"mainColor":94},214583,"si-qing-tu-li-kan-214583","四清图","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[7,209,23,24,25,173,178,263,28,177,226,385,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[90],394,{"id":3493,"slug":3494,"title":3495,"dynasty":76,"author":381,"museum":132,"description":3496,"tags":3497,"thumbUrl":3498,"material":88,"size":3499,"collection":90,"collections":3500,"showCount":3501,"zanCount":5,"manualWeight":48,"mainColor":49},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[7,209,23,24,225,28,27,83,402,226,266,1628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","131x53.5cm",[90],391,{"id":3503,"slug":3504,"title":1214,"dynasty":18,"author":2483,"museum":206,"description":3505,"tags":3506,"thumbUrl":3507,"material":123,"size":3508,"collection":181,"collections":3509,"showCount":3510,"zanCount":1337,"manualWeight":48,"mainColor":94},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[7,23,24,225,26,27,28,104,29,107,34,37,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[181],388,{"id":3512,"slug":3513,"title":3514,"dynasty":18,"author":553,"museum":101,"description":3515,"tags":3516,"thumbUrl":3517,"material":3518,"size":3519,"collection":42,"collections":3520,"showCount":3521,"zanCount":972,"manualWeight":48,"mainColor":49},221289,"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","此画描绘了河流两岸树色平远的景色。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。 画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[7,23,173,25,29,175,865,229,174,106,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[42,181,163],387,{"id":3523,"slug":3524,"title":3525,"dynasty":1483,"author":3526,"museum":206,"description":3527,"tags":3528,"thumbUrl":3529,"material":712,"size":3530,"collection":328,"collections":3531,"showCount":3521,"zanCount":972,"manualWeight":48,"mainColor":94},221032,"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","王羲之","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[7,209,23,24,25,263,178,86,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[328,2097],{"id":3533,"slug":3534,"title":3535,"dynasty":189,"author":767,"museum":20,"description":3536,"tags":3537,"thumbUrl":3538,"material":841,"size":3539,"collection":181,"collections":3540,"showCount":3541,"zanCount":1337,"manualWeight":48,"mainColor":94},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[7,209,23,24,225,27,177,29,106,150,151,108,109,1365,558,469,35,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[181,45],385,{"id":3543,"slug":3544,"title":3545,"dynasty":204,"author":2585,"museum":206,"description":3546,"tags":3547,"thumbUrl":3548,"material":123,"size":3549,"collection":181,"collections":3550,"showCount":3541,"zanCount":2209,"manualWeight":48,"mainColor":49},219910,"qiu-shan-wen-dao-tu-ju-ran-219910","秋山问道图","《秋山问道图》是一幅秋景山水画，以立幅构图画重重叠起的山峦，下部清澈的溪水，曲折的小路通向山中，山坳处茅舍数间，屋中有二人对坐，境界清幽。",[7,23,209,173,177,225,29,734,384,283,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4122bb46b9b23056909f68c43afe04b.jpg","横77.2厘米，纵165.2厘米",[181],{"id":3552,"slug":3553,"title":3554,"dynasty":18,"author":1793,"museum":56,"description":3555,"tags":3556,"thumbUrl":3558,"material":123,"size":3559,"collection":90,"collections":3560,"showCount":3541,"zanCount":1104,"manualWeight":48,"mainColor":49},216925,"han-ya-tu-li-cheng-216925","寒鸦图","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[7,209,23,24,25,173,177,865,866,266,3557,2019,29,229,263,86,178],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 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花气浑如百和香。黄莺过水翻回去，燕子衔泥湿不妨。飞阁卷帘图画里，虚无只少对潇湘。赐亿年。宋高宗早年书法黄山谷，后改习二王，是幅字体均匀，结构图活，章法疏朗，乃高宗本色书法，原书后方有赵吴兴补图，惜为后人剪去。宋朝书家，崇尚意趣，往往轻率下笔，任意著墨，将晋唐端严书风大肆更变，有识之士有鉴于此，纷纷改弦易辙，回归传统，高宗亦是其中之功臣也。",[7,86,178,263,173,24,81,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6641a026cecbe41cd716299031cc973.jpg","27.1x48.7",[328],{"id":3591,"slug":3592,"title":3593,"dynasty":99,"author":170,"museum":1406,"description":3594,"tags":3595,"thumbUrl":3599,"material":699,"size":3600,"collection":181,"collections":3601,"showCount":3602,"zanCount":2209,"manualWeight":48,"mainColor":94},222114,"zhang-li-yuan-tiao-tu-shen-zhou-222114","杖藜远眺图","为一幅充满诗意的小景之作。左下方的白云草草勾出，稍加淡墨渲染，便有徐缓飘荡之态。山石皱纹和林木屋宇，点画随意，干湿浓淡，浑然一体。远山则用整块淡墨。这样，近景见笔而实，远山见墨而虚。虚实结合，有空灵深远之感。画中人物登高杖藜眺望，意境引入青山尽头，白云深处。题识：“白云如带束山腰 ，石磴飞空细路遥。独倚杖藜舒眺望，欲因鸣涧答吹箫。",[7,23,173,29,107,176,1082,3596,106,3597,263,177,3598],"白云","杖藜","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纵38厘米，横59厘米",[181,163],383,{"id":3604,"slug":3605,"title":3606,"dynasty":99,"author":100,"museum":311,"description":3607,"tags":3608,"thumbUrl":3611,"material":2164,"size":2165,"collection":139,"collections":3612,"showCount":3613,"zanCount":2209,"manualWeight":48,"mainColor":49},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[7,23,25,105,28,26,27,29,106,150,1422,108,557,3112,3609,3610],"侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg",[],380,{"id":3615,"slug":3616,"title":3617,"dynasty":99,"author":100,"museum":132,"description":3618,"tags":3619,"thumbUrl":3621,"material":123,"size":3622,"collection":44,"collections":3623,"showCount":3624,"zanCount":972,"manualWeight":48,"mainColor":49},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[7,23,24,81,28,27,104,26,29,106,107,175,109,174,108,266,866,3620,285,1422,59,229],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[44],376,{"id":3626,"slug":3627,"title":3628,"dynasty":99,"author":817,"museum":311,"description":3629,"tags":3630,"thumbUrl":3632,"material":139,"size":139,"collection":181,"collections":3633,"showCount":3634,"zanCount":48,"manualWeight":48,"mainColor":94},221983,"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[7,23,27,107,1422,29,734,282,384,3631,36,173,400,225,699],"房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[181,163],375,{"id":3636,"slug":3637,"title":3638,"dynasty":18,"author":3639,"museum":206,"description":3640,"tags":3641,"thumbUrl":3643,"material":123,"size":3644,"collection":42,"collections":3645,"showCount":3634,"zanCount":1009,"manualWeight":48,"mainColor":94},219198,"ying-tao-huang-que-tu-ma-shi-chang-219198","樱桃黄雀图","马世昌","画中樱桃正熟，禽鸟顾盼，一派初夏光景。",[7,209,23,24,81,28,27,83,758,3642,266,759],"黄雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce24ced8f0f9757eb0cf1f98628ecd12.jpg","27x25.3cm",[42,90],{"id":3647,"slug":3648,"title":3649,"dynasty":99,"author":278,"museum":447,"description":3650,"tags":3651,"thumbUrl":3652,"material":88,"size":139,"collection":181,"collections":3653,"showCount":3634,"zanCount":1337,"manualWeight":48,"mainColor":94},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[7,23,24,173,27,81,29,174,266,866,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[181],{"id":3655,"slug":3656,"title":3657,"dynasty":76,"author":963,"museum":311,"description":3658,"tags":3659,"thumbUrl":3661,"material":139,"size":139,"collection":181,"collections":3662,"showCount":3663,"zanCount":1104,"manualWeight":48,"mainColor":94},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[7,23,24,81,173,27,177,29,174,3660,3024,176,34,2310,263],"帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[181,45],374,{"id":3665,"slug":3666,"title":3667,"dynasty":18,"author":886,"museum":1666,"description":3668,"tags":3669,"thumbUrl":3670,"material":699,"size":3671,"collection":42,"collections":3672,"showCount":3663,"zanCount":2209,"manualWeight":48,"mainColor":49},221458,"wu-long-tu-juan-chen-rong-221458","五龙图卷","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[7,209,23,24,25,173,177,433,176,466,37,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[42,181,163],{"id":3674,"slug":3675,"title":692,"dynasty":76,"author":3676,"museum":311,"description":3677,"tags":3678,"thumbUrl":3679,"material":841,"size":3680,"collection":90,"collections":3681,"showCount":3682,"zanCount":2209,"manualWeight":48,"mainColor":94},224230,"ju-hua-wu-chang-shuo-224230","吴昌硕","吴昌硕所作之菊，线条凝练遒劲，刚柔并济；墨色浓淡相间，不落俗格。并伴以山岩、野石、溪水，或插入孤高细瘦的古瓶，皆与秋菊幽独淡雅、冷逸傲世的情态相映成趣。",[7,23,24,225,173,27,83,692,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e716d104f298492c68ba5d730a09c32.jpg","235*50cm",[90,45],373,{"id":3684,"slug":3685,"title":3686,"dynasty":204,"author":3687,"museum":311,"description":3688,"tags":3689,"thumbUrl":3691,"material":2164,"size":2165,"collection":139,"collections":3692,"showCount":3693,"zanCount":2209,"manual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等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[7,23,24,25,104,28,244,106,107,108,109,149,150,151,34,112,110,154,3733,31,35,155,116],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,{"id":3738,"slug":3739,"title":3740,"dynasty":189,"author":3741,"museum":447,"description":3742,"tags":3743,"thumbUrl":3744,"material":573,"size":3745,"collection":90,"collections":3746,"showCount":3736,"zanCount":1009,"manualWeight":48,"mainColor":94},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 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(立轴)","徐悲鸿","中央美术学院美术馆","此作以水墨写意勾勒骏马，笔力雄健遒劲。浓墨重绘鬃尾，似随风张扬，将骏马桀骜意气尽数铺展；淡墨晕染躯干，干湿浓淡间晕出皮毛的柔润光泽，筋骨起伏暗藏于晕染之中，肌肉的张力呼之欲出。\n骏马昂首伫立，双耳尖竖，目光远眺，静立间自带着即将驰骋的勃发之势，把骐骥的雄骏英武神态刻画得入木三分。画家以形写神，将胸中激荡的意气托于骏马，寥寥数笔便将写实造型与水墨意趣相融，尽显写意之精妙。",[7,23,24,225,173,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292911d57410c905d2fb580f3804218d.jpg","纸本水墨",[],{"id":3815,"slug":3816,"title":178,"dynasty":76,"author":3817,"museum":206,"description":3818,"tags":3819,"thumbUrl":3820,"material":409,"size":3821,"collection":328,"collections":3822,"showCount":3783,"zanCount":48,"manualWeight":48,"mainColor":94},214199,"xing-shu-kang-you-wei-214199","康有为","释文：浩风无量刼。所寓知几舍。三十有二相。示现随变化。康有为。",[7,76,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab696d5e99f70e246cbc8a67159777c.jpg","95.7x46.2",[328],{"id":3824,"slug":3825,"title":3826,"dynasty":76,"author":3827,"museum":20,"description":3828,"tags":3829,"thumbUrl":3831,"material":123,"size":3832,"collection":44,"collections":3833,"showCount":3834,"zanCount":5,"manualWeight":48,"mainColor":49},220398,"shi-nv-zan-hua-tu-jin-ting-biao-220398","仕女簪花图","金廷标","图中精致的家具、富丽的陈设所构筑出的典雅高贵的环境，表明此图表现的是宫廷女子日常生活的景象。梳妆打扮是贵族妇女每日生活中的重要内容之一，对此，她们不敢有丝毫的怠慢。图绘晨起的女子对镜理妆的情景。她为了取得良好的照镜角度，不禁起身而立，双目注视着桌上的铜镜，同时，左手缓缓地往云鬓上插玉簪。情节生动，人物举止自然，显示出作者细致入微的观察力和准确传神的艺术表现力。\n图中女子杏脸桃腮，皓齿朱唇，身段婀娜多姿，富于曲线变化，体虚力弱中显现出娇柔典雅的娟秀气，体现出清代仕女画清新俊秀的时代特征。人物衣纹用笔顿挫转折，线条遒劲刚健，与以界画方式表现的家具及室内装饰物所采用的守规守矩、见棱见角的线条相互呼应，笔墨格调于统一中显现出所绘物象不同的质感。此幅构图颇具机巧，近景为全身像的簮花女子，中景系若隐若现的理书侍女，远景是含烟带雾的翠竹一隅。繁复的画面，既未掩簪花的创作主题，又通过近、中、远三景的自然展现加强了画幅的立体、纵深效果，从而在有限的画面上扩展出无限的空间。",[7,28,27,106,59,228,63,64,84,298,3830],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836624fe83b39d31a2d2db2d60908583.jpg","纵223厘米，横130.5厘米",[44,45],360,{"id":3836,"slug":3837,"title":3838,"dynasty":99,"author":3839,"museum":78,"description":3840,"tags":3841,"thumbUrl":3842,"material":123,"size":139,"collection":44,"collections":3843,"showCount":3834,"zanCount":1093,"manualWeight":48,"mainColor":49},218253,"shi-nv-juan-du-jin-218253","仕女卷","杜堇","长卷铺展间，亭台花木错落，数十位仕女于其间各展风姿。她们衣袂翩跹，眉目温婉，或倚栏低语，或临案抚琴，或捧卷凝思，或嬉戏于阶前竹下。笔墨细腻处，衣纹流转如行云，发饰精巧似蝶落；设色淡雅间，朱红轻点裙裾，墨绿晕染枝叶，层次隐现。庭院深深，竹影婆娑，山石静立，将闺阁的闲适与雅致悄然收纳。人物互动自然生动，仿佛能听见轻声笑语，嗅到草木清芬。整幅作品以流畅线条勾勒温婉神韵，用舒缓节奏铺陈宁静时光，尽显古代仕女生活的诗意与从容。",[7,23,24,25,28,27,106,59,107,115,298,1434,34,176,300,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa7f600640a884b3f3a55ef2144af81.jpg",[44],{"id":3845,"slug":3846,"title":3847,"dynasty":18,"author":3466,"museum":3848,"description":3849,"tags":3850,"thumbUrl":3851,"material":3852,"size":139,"collection":181,"collections":3853,"showCount":3854,"zanCount":1104,"manualWeight":48,"mainColor":94},219195,"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[7,1004,23,209,25,173,29,174,866,266,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本",[181,42],359,{"id":3856,"slug":3857,"title":238,"dynasty":54,"author":239,"museum":311,"description":3858,"tags":3859,"thumbUrl":3862,"material":2164,"size":2165,"collection":139,"collections":3863,"showCount":3864,"zanCount":1104,"manualWeight":48,"mainColor":94},230784,"ba-shi-qi-shen-xian-juan-wu-dao-zi-230784","图中以道教故事为题材，描绘了以东华帝君、南极帝君、扶桑大帝为主的八十七位列队行进的神仙，画面纯以线条表现出八十七位神仙出行的宏大场景，形神刻画细致入微。画面笔墨遒劲洒脱，根根线条都表现了无限的生命力，如行云流水，充满韵律感，代表了中国唐代白描绘画的最高水平。",[7,23,24,25,244,106,243,246,2186,247,3860,436,248,3861],"发髻","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1df0381ac5212e317d74c385d5f6fe.jpg",[],358,{"id":3866,"slug":3867,"title":3868,"dynasty":99,"author":3869,"museum":1666,"description":3870,"tags":3871,"thumbUrl":3877,"material":573,"size":3878,"collection":90,"collections":3879,"showCount":3864,"zanCount":5,"manualWeight":48,"mainColor":49},222392,"si-ji-hua-niao-tu-xia-lv-ji-222392","四季花鸟图-夏","吕纪","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[7,23,209,3567,28,27,3872,3873,404,3874,176,3875,3876],"黄莺","野鸭","杜鹃","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","176.0×100.8",[90,45],{"id":3881,"slug":3882,"title":3883,"dynasty":18,"author":3884,"museum":206,"description":3885,"tags":3886,"thumbUrl":3888,"material":302,"size":3889,"collection":42,"collections":3890,"showCount":3864,"zanCount":1009,"manualWeight":48,"mainColor":49},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[7,23,209,24,225,28,27,83,808,2234,266,865,928,3887],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[42,90,45],{"id":3892,"slug":3893,"title":3894,"dynasty":3895,"author":278,"museum":132,"description":3896,"tags":3897,"thumbUrl":3901,"material":123,"size":139,"collection":90,"collections":3902,"showCount":3903,"zanCount":1314,"manualWeight":48,"mainColor":49},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","隋","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[7,23,27,28,225,83,3898,404,3899,282,283,1628,84,284,3900],"雁","芦苇","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[90],356,{"id":3905,"slug":3906,"title":3907,"dynasty":99,"author":3908,"museum":583,"description":3909,"tags":3910,"thumbUrl":3911,"material":527,"size":3912,"collection":90,"collections":3913,"showCount":3914,"zanCount":2209,"manualWeight":48,"mainColor":94},222369,"mu-dan-tu-zhou-lu-zhi-222369","牡丹图轴","陆治","画卷绘折枝牡丹二枝，枝头各自开放花朵，棕色在前，金色略被遮挡，花朵硕大饱满，花瓣层层叠叠，中间配以鹅黄花蕊。技法上，花朵以墨晕染，再以鹅黄点缀花蕊，绿叶细笔深绿构绘叶脉，后以淡绿晕染，清新脱俗。\n陆治，字叔平，明代画家。因居包山，自号包山。善行、楷，尤通绘事，点染花鸟竹石清新自然，山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格。",[7,23,24,225,27,28,369,759,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd605f4b1d772948191c493247cd631c3.jpg","31.7x102.8厘米",[90,45],354,{"id":3916,"slug":3917,"title":3918,"dynasty":18,"author":418,"museum":311,"description":3919,"tags":3920,"thumbUrl":3921,"material":2164,"size":2165,"collection":139,"collections":3922,"showCount":3923,"zanCount":1337,"manualWeight":48,"mainColor":49},289007,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-zhao-ji-289007","摹张萱虢国夫人游春图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[7,209,23,25,27,106,150,59,28,105,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb526d78da24aa77a7005eb850f4b55.jpg",[],352,{"id":3925,"slug":3926,"title":745,"dynasty":99,"author":817,"museum":20,"description":3927,"tags":3928,"thumbUrl":3929,"material":1488,"size":3930,"collection":163,"collections":3931,"showCount":3923,"zanCount":1104,"manualWeight":48,"mainColor":94},221978,"mo-zhu-tu-wen-zheng-ming-221978","本幅绘坡石兰竹、荆棘溪流，无作者款识，钤“悟言室印”、“徵仲”、“徵仲父”、“惟庚寅吾以降”。接纸文徵明自题一段，款署：“徵明題於玉磬山房”。钤“文徵明印”、“衡山”及引首章“停云”。\n图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。\n清顾文彬《过云楼书画记》著录。",[7,23,24,225,173,226,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec347ecd188da74ed1c680f3cb0f115.jpg","纵26.8厘米，横730厘米",[163,1896],{"id":3933,"slug":3934,"title":3935,"dynasty":99,"author":100,"museum":206,"description":3936,"tags":3937,"thumbUrl":3938,"material":712,"size":3939,"collection":181,"collections":3940,"showCount":3941,"zanCount":1009,"manualWeight":48,"mainColor":94},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[7,23,24,225,104,28,27,29,107,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","110.5x42.1",[181,45],351,{"id":3943,"slug":3944,"title":3945,"dynasty":949,"author":950,"museum":3946,"description":3947,"tags":3948,"thumbUrl":3950,"material":139,"size":139,"collection":139,"collections":3951,"showCount":3941,"zanCount":1009,"manualWeight":48,"mainColor":94},220597,"lian-hua-yu-long-fei-qi-bai-shi-220597","莲花与龙飞","Indianapolis Museum of Art at Newfields","枯墨勾勒荷茎与水草，苍劲老辣带着风霜质感，赭石晕染残荷，铺展出秋塘的疏淡萧瑟。朱砂点就的红莲，浓艳醒目，在枯寂里绽出鲜活暖意，稚拙圆润的莲蓬，藏着乡野间的朴拙意趣。翅羽轻颤的小虫寥寥数笔便形神兼具，翩然灵动，和沉郁静穆的残荷形成鲜明动静反差。\n\n整幅画以少胜多，大写意笔墨里藏着对自然的细微体察，将秋塘的清寂生机揉合一处，平淡天真间尽是悠然意韵。",[7,23,173,27,400,225,263,136,781,696,137,3949],"花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],{"id":3953,"slug":3954,"title":3955,"dynasty":3895,"author":3956,"museum":20,"description":3957,"tags":3958,"thumbUrl":3959,"material":67,"size":3960,"collection":328,"collections":3961,"showCount":3962,"zanCount":1314,"manualWeight":48,"mainColor":94},221049,"you-chun-tu-zhan-zi-qian-221049","游春图","展子虔","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[7,23,24,25,26,27,29,106,107,108,109,266,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。",[328],350,{"id":3964,"slug":3965,"title":3966,"dynasty":18,"author":3967,"museum":206,"description":3968,"tags":3969,"thumbUrl":3974,"material":123,"size":3975,"collection":90,"collections":3976,"showCount":3962,"zanCount":1104,"manualWeight":48,"mainColor":49},219395,"hua-niao-zhou-xiao-rong-219395","花鸟轴","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[7,209,23,83,225,27,226,109,558,266,3970,3971,84,3972,3973],"山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[90],{"id":3978,"slug":3979,"title":354,"dynasty":189,"author":190,"museum":206,"description":192,"tags":3980,"thumbUrl":3983,"material":67,"size":358,"collection":181,"collections":3984,"showCount":3985,"zanCount":1337,"manualWeight":48,"mainColor":94},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767",[7,23,24,25,173,177,29,174,109,34,3019,557,108,1086,1843,229,770,37,3981,3982],"岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg",[181,163],349,{"id":3987,"slug":3988,"title":3989,"dynasty":18,"author":746,"museum":1098,"description":3990,"tags":3991,"thumbUrl":3992,"material":173,"size":139,"collection":328,"collections":3993,"showCount":3994,"zanCount":1104,"manualWeight":48,"mainColor":49},218610,"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[7,209,23,24,25,173,226,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg",[328],348,{"id":3996,"slug":3997,"title":3998,"dynasty":76,"author":1744,"museum":78,"description":2695,"tags":3999,"thumbUrl":4000,"material":712,"size":4001,"collection":90,"collections":4002,"showCount":4003,"zanCount":1337,"manualWeight":48,"mainColor":94},223298,"zhu-shi-tu-2-zheng-ban-qiao-223298","竹石图2",[7,23,24,225,173,226,229,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e983ebb0ad92b6de26b6800638f4370.jpg","纵217.4厘米，横120.6厘米",[90,163],346,{"id":4005,"slug":4006,"title":4007,"dynasty":76,"author":278,"museum":206,"description":4008,"tags":4009,"thumbUrl":4013,"material":123,"size":4014,"collection":181,"collections":4015,"showCount":4003,"zanCount":48,"manualWeight":48,"mainColor":49},218493,"fang-zhao-meng-fu-que-hua-qiu-se-tu-yi-ming-218493","仿赵孟頫鹊华秋色图","平野旷远，秋气澹然。疏林错落于汀渚间，枯藤缀红，苍松凝翠，枝桠横斜藏萧瑟之韵；浅滩细草萋萋，水鸟翩跹，添野趣几分。左畔圆丘如覆，右峰尖峭似锥，淡墨晕染出层峦之态，远岫含烟，空蒙悠远。笔墨承古意，设色雅淡，将秋郊的旷疏与静谧凝于绢素。画面空灵澄澈，无喧嚣之扰，尽显宋元山水的悠然之境，似可闻风过林梢、水鸟轻啼，令人心驰神往。",[7,23,24,209,25,105,27,177,29,34,4010,3899,4011,4012,865],"平野","孤山","红叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76414e091a2fe78c9e55723e023ebb19.jpg","28.7x146cm",[181],{"id":4017,"slug":4018,"title":4019,"dynasty":76,"author":77,"museum":20,"description":4020,"tags":4021,"thumbUrl":4023,"material":88,"size":4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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[7,23,24,225,173,83,402,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4232f4f2ae738877a1f8edd9442b7c.jpg","72.8x35",[90,163],345,{"id":4037,"slug":4038,"title":4039,"dynasty":76,"author":4040,"museum":206,"description":4041,"tags":4042,"thumbUrl":4043,"material":409,"size":4044,"collection":328,"collections":4045,"showCount":4035,"zanCount":1337,"manualWeight":48,"mainColor":94},214198,"lin-huang-shan-gu-ti-zhou-fang-hua-qin-ruan-tu-liu-yong-214198","临黄山谷题周昉画琴阮图","刘墉","临黄山谷题周昉画琴阮图是清代诗人刘墉的一首诗作。\n\n刘墉（1679年-1733年），字清哲，汉族，浙江桐乡人，清代诗人、文学家。他是清代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格婉转、清新，有浓厚的写实感，被认为是清代文学中的经典之作。\n\n临黄山谷题周昉画琴阮图是刘墉的一首著名诗作，其中描写了黄山的风景。这首诗的气势磅礴，描写了黄山的雄伟景色，表达了作者对黄山的崇敬之情。诗中还描写了周昉画琴阮图的情景，表现了作者对艺术的热爱。\n\n整首诗的意境深远，描写细腻，是刘墉的代表作之一，也是清代文学中的经典之作。",[7,86,178,105,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e3642eba9721dbe21f759d69be88206.jpg","104x33.6",[328],{"id":4047,"slug":4048,"title":4049,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":4052,"thumbUrl":4053,"material":699,"size":4054,"collection":181,"collections":4055,"showCount":4056,"zanCount":2209,"manualWeight":48,"mainColor":94},220330,"huang-shan-tu-ce-hong-ren-220330","黄山图册","弘仁","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[7,23,24,81,27,29,403,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a28d1fd70bd633868d57292ab972da0.jpg","21.5x18.3厘米",[181],344,{"id":4058,"slug":4059,"title":4060,"dynasty":204,"author":1839,"museum":4061,"description":4062,"tags":4063,"thumbUrl":4066,"material":327,"size":4067,"collection":163,"collections":4068,"showCount":4069,"zanCount":1337,"manualWeight":48,"mainColor":629},219166,"han-lin-zhong-ting-tu-dong-yuan-219166","寒林重汀图","日本兵库县黑川文学院","此图皴笔粗,苔点则兼用渴笔、焦黑、乱锋为素的空处相掩映,黑白对比变化多端。垂柳分列面相之,而运笔迅疾,力量饱满。除长披麻外,复于岸之顾盼,村舍延,远景近景连成一片。此画技法高超,阴面以碎笔打点,或聚或散,不仅线、点的墨色和乃难得的绝世佳作。",[7,23,173,27,177,29,1776,1843,4064,34,35,108,4065],"水域","平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d474576e331ddcfa77cd48b6650a19.jpg","纵181.5、横116.5厘米",[163],343,{"id":4071,"slug":4072,"title":4073,"dynasty":204,"author":4074,"museum":206,"description":4075,"tags":4076,"thumbUrl":4077,"material":123,"size":4078,"collection":90,"collections":4079,"showCount":4069,"zanCount":1104,"manualWeight":48,"mainColor":49},216758,"zhu-shi-jin-jiu-tu-huang-ju-cai-216758","竹石锦鸠图","黄居寀","古木巨石旁，荆竹丛生，一弯溪水潺湲流过。一群斑鸠悠闲地在此休憩：有的展翅翱翔，有的在树枝上梳理羽毛作日光浴，有的低首翘尾地站在溪旁饮水，有的站在巨石上，摆出鞠躬、鼓颈的姿势，向下方的斑鸠“咕－咕－咕－”地鸣唱示好。\n斑鸠俗称“粉鸟”，因为颈部羽色黑底白点有若珍珠，因此也名为“珠颈斑鸠”或“锦鸠”。斑鸠们平常多栖息在空旷的平野或树林，但因生性机敏，接近相当不易。在这幅作品里，画家以精妙的画笔捕捉这一幕斑鸠群集的画面，至为难得。此外，纵横乖张的古树枝丫、浓淡对比强烈的斑驳巨石、虚渺无际的溪畔，更为这幕自然增添不少奇幻诡谲的气氛。",[7,23,24,83,28,27,226,385,266,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb10bc776e6b793817d89e43e76fbdf3.jpg","23.6 x 45.7公分",[90],{"id":4081,"slug":4082,"title":4083,"dynasty":54,"author":278,"museum":206,"description":4084,"tags":4085,"thumbUrl":4086,"material":123,"size":4087,"collection":44,"collections":4088,"showCount":4089,"zanCount":972,"manualWeight":48,"mainColor":49},223394,"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。中央四人，则负责吹乐助兴。所持用的乐器，自右而左，分别为筚篥、琵琶、古筝与笙。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[7,209,23,24,225,28,27,106,59,210,211,807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb907e859af37c3582daa5bb82bd4794.jpg","48.7x69.5",[44],342,{"id":4091,"slug":4092,"title":4093,"dynasty":99,"author":170,"museum":311,"description":4094,"tags":4095,"thumbUrl":4096,"material":527,"size":139,"collection":139,"collections":4097,"showCount":4098,"zanCount":1337,"manualWeight":48,"mainColor":94},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[7,209,23,24,25,173,27,29,109,175,106,174,176,177,226,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":4100,"slug":4101,"title":371,"dynasty":99,"author":170,"museum":206,"description":2203,"tags":4102,"thumbUrl":4103,"material":699,"size":4104,"collection":90,"collections":4105,"showCount":4098,"zanCount":1337,"manualWeight":48,"mainColor":94},222106,"yu-lan-shen-zhou-222106",[7,209,23,24,81,173,27,371,866,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","34.8×56.5厘米",[90,45],{"id":4107,"slug":4108,"title":4109,"dynasty":99,"author":170,"museum":311,"description":4110,"tags":4111,"thumbUrl":4112,"material":2164,"size":2165,"collection":139,"collections":4113,"showCount":4114,"zanCount":1337,"manualWeight":48,"mainColor":49},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[7,209,23,225,26,27,29,108,109,866,176,106,1422,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":4116,"slug":4117,"title":4118,"dynasty":99,"author":1014,"museum":206,"description":4119,"tags":4120,"thumbUrl":4122,"material":67,"size":4123,"collection":181,"collections":4124,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":49},222033,"chun-han-tu-dai-jin-222033","春酣图","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[7,23,209,29,27,177,106,1365,108,109,174,866,4121,176,37,467,867],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[181,45],{"id":4126,"slug":4127,"title":552,"dynasty":18,"author":553,"museum":206,"description":554,"tags":4128,"thumbUrl":4129,"material":4130,"size":562,"collection":139,"collections":4131,"showCount":4132,"zanCount":2209,"manualWeight":48,"mainColor":49},231408,"zao-chun-tu-guo-xi-231408",[7,23,209,24,225,173,27,177,29,557,558,34,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,{"id":4134,"slug":4135,"title":4136,"dynasty":76,"author":4137,"museum":20,"description":4138,"tags":4139,"thumbUrl":4142,"material":123,"size":4143,"collection":44,"collections":4144,"showCount":4145,"zanCount":1104,"manualWeight":48,"mainColor":49},214366,"bing-xi-tu-jin-kun-214366","冰嬉图","金昆","金昆（1734-1798）是清代著名的画家，他的作品《冰嬉图》是其代表作之一。\n\n《冰嬉图》描绘了一群人在冰上嬉戏的画面。金昆在画中运用了精细的笔墨和细腻的造型，勾勒出人物的动态感和气氛的欢乐。作品中的人物衣着艳丽，手持冰鞋、冰鞭，在冰上滑行、打闹，形成了一幅生动的冬日画面。\n\n《冰嬉图》被认为是金昆写意人物画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《冰嬉图》也是收藏家们青睐的经典之作。\n\n金昆的《冰嬉图》是一幅描绘冬日活动的画作，它体现了中国传统文化中“冰上嬉戏”的理念。在中国传统文化中，冰上嬉戏是冬日的休闲活动之一，人们可以在冰上滑行、打闹，享受冬日的清新气息。金昆的《冰嬉图》不仅是一幅精美的画作，更是一首关于冬日活动的诗篇。",[7,28,27,106,107,34,4140,248,4141,1069],"旗帜","冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff197d6b8677f087f4ec01dfab7441fea.jpg","35.2x581",[44],337,{"id":4147,"slug":4148,"title":4149,"dynasty":99,"author":397,"museum":20,"description":4150,"tags":4151,"thumbUrl":4153,"material":699,"size":4154,"collection":44,"collections":4155,"showCount":4156,"zanCount":1104,"manualWeight":48,"mainColor":94},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[7,209,23,24,225,173,401,83,136,4152,263,86,178],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm 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院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[7,28,27,104,25,4228,106,107,108,109,111,34,35,117,113,4229,4230,110,116,31,36,115,114,3318,4231,4232],"风俗","城郭","街道","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","纵35．6厘米，横1152．8厘米",[44,45],333,{"id":4238,"slug":4239,"title":4240,"dynasty":99,"author":2146,"museum":20,"description":4241,"tags":4242,"thumbUrl":4243,"material":40,"size":4244,"collection":44,"collections":4245,"showCount":4246,"zanCount":972,"manualWeight":48,"mainColor":49},222351,"wang-shu-gong-ji-tu-zheng-ben-tang-yin-222351","王蜀宫妓图正本","此图原名《孟蜀宫妓图》，俗称《四美图》，由明末汪砢玉《珊瑚網·画录》最早定名，沿用至今。近经专文考证，当改为《王蜀宫妓图》，描绘的是五代前蜀后主王衍的后宫故事。画面四个歌舞宫女正在整妆待君王召唤侍奉。她们头戴金莲花冠，身着云霞彩饰的道衣，面施胭脂，体貌丰润中不失娟秀，情态端庄而又娇媚。蜀后主王衍曾自制“甘州曲”歌，形容著道衣的宫妓妩媚之态：“画罗裙，能结束，称腰身。柳眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[7,23,24,225,27,28,106,59,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6a69f4c7f9bc4763217d4951ac15c8.jpg","纵124.7厘米，横63.6厘米",[44,45],332,{"id":4248,"slug":4249,"title":4250,"dynasty":189,"author":4251,"museum":20,"description":4252,"tags":4253,"thumbUrl":4254,"material":573,"size":4255,"collection":181,"collections":4256,"showCount":4246,"zanCount":2209,"manualWeight":48,"mainColor":49},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[7,23,24,225,28,27,177,29,174,106,107,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[181,163],{"id":4258,"slug":4259,"title":4260,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":4262,"thumbUrl":4263,"material":409,"size":4264,"collection":44,"collections":4265,"showCount":4246,"zanCount":1314,"manualWeight":48,"mainColor":94},214982,"dao-zi-mo-bao-ren-wu-bai-miao-hua-yi-ming-214982","道子墨宝人物白描画","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[7,23,24,209,244,104,106,107,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874f90d9aa8cd68cb8fc118529bd192.jpg","34.2*38.4",[44],{"id":4267,"slug":4268,"title":4269,"dynasty":189,"author":1442,"museum":20,"description":4270,"tags":4271,"thumbUrl":4273,"material":699,"size":4274,"collection":181,"collections":4275,"showCount":4276,"zanCount":1314,"manualWeight":48,"mainColor":94},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[7,23,464,1218,225,177,178,263,86,384,175,4272,176,109],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[181,163],329,{"id":4278,"slug":4279,"title":4280,"dynasty":76,"author":4281,"museum":206,"description":4282,"tags":4283,"thumbUrl":4284,"material":123,"size":139,"collection":45,"collections":4285,"showCount":4276,"zanCount":5,"manualWeight":48,"mainColor":94},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[7,209,23,24,25,28,27,105,106,107,108,109,34,151,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[45],{"id":4287,"slug":4288,"title":4289,"dynasty":99,"author":4290,"museum":583,"description":4291,"tags":4292,"thumbUrl":4294,"material":573,"size":4295,"collection":90,"collections":4296,"showCount":4297,"zanCount":1314,"manualWeight":48,"mainColor":49},222080,"qiu-hua-jia-die-tu-wen-chu-222080","秋花蛱蝶图","文俶","赵文俶(1595-1634年)字端容，今苏州人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名“寒山草木昆虫状”，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。",[7,23,24,28,27,83,3295,4293,284,759],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336545c0cf2814e864937a1efd910257.jpg","纵105厘米，横67厘米",[90,45],328,{"id":4299,"slug":4300,"title":1383,"dynasty":99,"author":4301,"museum":206,"description":4302,"tags":4303,"thumbUrl":4306,"material":699,"size":4307,"collection":181,"collections":4308,"showCount":4297,"zanCount":48,"manualWeight":48,"mainColor":49},221921,"tai-ping-chun-se-zhou-qian-gong-221921","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[7,225,28,27,106,107,108,866,115,176,4304,4305,34,35],"孩童","炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm ×49.8cm",[181,45],{"id":4310,"slug":4311,"title":4312,"dynasty":54,"author":4313,"museum":78,"description":4314,"tags":4315,"thumbUrl":4316,"material":67,"size":4317,"collection":44,"collections":4318,"showCount":4319,"zanCount":972,"manualWeight":48,"mainColor":49},221083,"gao-yi-tu-sun-wei-221083","高逸图","孙位","《高逸图》是孙位唯一存世的作品，也为目前屈指可数的几件唐代作品之一。画中表现的是魏晋时期著名的“竹林七贤”，目前画面仅剩四人，经考证是山涛、王戎、刘伶与阮籍。在技法上，孙位继承了顾恺之“劲紧连绵如吐丝”的行云流水的风格，但更加成熟。线条的变化更丰富，人物造型刻画更真实细致。《高逸图》著录于宋徽宗的《宣和画谱》里，画上钤印“宣和七玺”。作品的装裱保留了北宋的形式。",[7,23,24,25,27,106,229,1365,28,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[44,45],326,{"id":4321,"slug":4322,"title":4323,"dynasty":76,"author":77,"museum":1406,"description":1407,"tags":4324,"thumbUrl":4325,"material":1411,"size":1412,"collection":90,"collections":4326,"showCount":4319,"zanCount":1009,"manualWeight":48,"mainColor":94},220999,"hua-hui-tu-ce-sui-han-san-you-tu-yun-shou-ping-220999","花卉图册·岁寒三友图",[7,23,209,24,81,82,27,83,403,226,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29a40cff960843c68f7263ecdb0bd8e.jpg",[90,45],{"id":4328,"slug":4329,"title":962,"dynasty":76,"author":1047,"museum":132,"description":4330,"tags":4331,"thumbUrl":4332,"material":88,"size":139,"collection":181,"collections":4333,"showCount":4334,"zanCount":2209,"manualWeight":48,"mainColor":94},214378,"shan-shui-tu-ce-zhu-da-214378","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[7,23,173,81,177,263,29,176,865,4064,174,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg",[181],324,{"id":4336,"slug":4337,"title":2171,"dynasty":76,"author":336,"museum":20,"description":4338,"tags":4339,"thumbUrl":4341,"material":123,"size":4342,"collection":90,"collections":4343,"showCount":4344,"zanCount":972,"manualWeight":48,"mainColor":94},219111,"hua-niao-tu-lang-shi-ning-219111","此图笔法精工细腻，色调绚丽多彩，造型抽象生动，注重展现禽鸟翎毛的细腻、花叶的阴阳向背以及明暗层次的差异，具有鲜明的西洋花鸟写实画的色调。",[7,28,27,263,83,369,370,866,4340,84,759],"蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bf0edaaa3f25a2c4a60fa09e4aa741.jpg","纵63.7厘米，横32.3厘米",[90],323,{"id":4346,"slug":4347,"title":4348,"dynasty":189,"author":645,"museum":20,"description":4349,"tags":4350,"thumbUrl":4351,"material":699,"size":4352,"collection":163,"collections":4353,"showCount":4354,"zanCount":5,"manualWeight":48,"mainColor":255},220865,"xiu-shi-shu-lin-tu-zhao-meng-fu-220865","秀石疏林图","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[7,23,24,173,229,866,226,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纵27.5cm，横62.8cm",[163,1896],322,{"id":4356,"slug":4357,"title":4358,"dynasty":18,"author":278,"museum":20,"description":4359,"tags":4360,"thumbUrl":4362,"material":173,"size":139,"collection":42,"collections":4363,"showCount":4354,"zanCount":2209,"manualWeight":48,"mainColor":255},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[7,23,24,173,27,28,244,177,86,263,106,35,34,176,4361,228],"茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[42],{"id":4365,"slug":4366,"title":4367,"dynasty":76,"author":3676,"museum":20,"description":4368,"tags":4369,"thumbUrl":4371,"material":841,"size":4372,"collection":90,"collections":4373,"showCount":4374,"zanCount":2209,"manualWeight":48,"mainColor":94},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[7,23,24,225,27,173,178,263,400,83,402,405,229,4370,228],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[90,45],321,{"id":4376,"slug":4377,"title":4378,"dynasty":1483,"author":3526,"museum":311,"description":4379,"tags":4380,"thumbUrl":4381,"material":2164,"size":2165,"collection":139,"collections":4382,"showCount":4383,"zanCount":1314,"manualWeight":48,"mainColor":94},283697,"feng-cheng-su-mo-lan-ting-xu-quan-juan-shen-long-ben-wang-xi-zhi-283697","冯承素摹兰亭序全卷（神龙本）","王羲之（303年—361年），字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[7,209,24,86,25,178,105,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26cdba5ef638e960a7c1fa4d917fa25.jpg",[],320,{"id":4385,"slug":4386,"title":1238,"dynasty":76,"author":3676,"museum":311,"description":4387,"tags":4388,"thumbUrl":4389,"material":27,"size":139,"collection":90,"collections":4390,"showCount":4383,"zanCount":2209,"manualWeight":48,"mainColor":4391},224225,"mu-dan-tu-wu-chang-shuo-224225","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[7,209,23,24,225,27,173,83,369,178,263,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[90,45],"FFFFFF",{"id":4393,"slug":4394,"title":4395,"dynasty":54,"author":4396,"museum":20,"description":4397,"tags":4398,"thumbUrl":4399,"material":699,"size":4400,"collection":328,"collections":4401,"showCount":4383,"zanCount":1104,"manualWeight":48,"mainColor":94},221138,"shang-yang-tai-tie-li-bai-221138","上阳台帖","李白","《上阳台帖》是唐代诗人、书法家 于天宝三年（744年）创作的纸本墨迹草书书法作品，现收藏于 。\n《上阳台帖》为李白自书其四言诗，共25字，既概括了王屋山高耸峻拔之势和源远流长之水，亦通过赞颂 的作品，抒发了作者对其的仰慕之情。\n全卷苍劲雄浑而又气势飘逸，用笔纵放自如，快健流畅，法度不拘一格，一如李白豪放、俊逸的诗风。\n全贴结体亦参差跌宕，顾盼有情，奇趣无穷。\n《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n山高水长，物象千万，非有老笔，清壮可穷。\n十八日，上阳台书，太白。\n引首为 题“青莲逸翰”四个大字，帖前隔水上有徽宗瘦金书题签“唐李太白上阳台”七字。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彝斋”、贾似道“秋壑图书”，元“张晏私印”、“欧阳玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n后纸有宋代徽宗，元代张晏、杜本、欧阳玄、王馀庆、 、驺鲁，清代乾隆皇帝题跋和观款。\n宋徽宗 跋文为：“太白尝作行书乘兴踏月，西入酒家，不觉人物两忘，身在世外一帖，字画飘逸，豪气雄健，乃知白不特以诗鸣也。\n” 元代 跋曰：“谪仙书传世绝少，尝云：欧、虞、褚、陆真奴书耳。\n自以流出于胸中，非若他人积习可到。\n观其飘飘然有凌云之态，高出尘寰得物外之妙。\n尝遍观晋唐法帖，而忽展此书，不觉令人清爽。\n” 元代书法家 题诗云：“唐家公子锦袍仙，文采风流六百年。\n不见屋梁明月色，空余翰墨化云烟。\n” 唐代是中国书法草书体发展的一个巅峰。\n初唐时期，太宗李世民即大力倡导学习王羲之，并带头习王，开清新活泼书风，也从此奠定王羲之书圣之地位。\n而后有孙过庭、李怀琳等草书大家，源于二王，又有创新，笔法丰富而多变，发展完善了二王草书的技法系统。\n及至盛唐时期，那更是对草书尊崇有加，皇宫内府，大臣公侯，士大夫及有文化一族，谁都能挥洒几笔草体，可谓大唐草书之盛世。\n李白亦是在当时涉草并取得一定成就之士。\n其草书来自张旭一脉，且风格飘然有仙气。\n李白于开元十二年（724年）出蜀游三峡，至江陵遇道士 ，得到司马承祯赞赏。\n后唐玄宗命司马承祯王屋山建立道观，并题写匾额。\n而司马承祯不仅道术精深，而且诗、书、画皆有极高造诣，擅长山水画。\n天宝三年（744年），李白与杜甫、高适同游 ，并来此寻访司马承祯，待到达阳台宫后，方知司马承祯已经仙逝。\n不见其人，惟睹其画，故有感而书《上阳台帖》。\n《上阳台帖》其点画如行走在云烟之中，大有收天下于一纸的旷达情怀。\n书法作品作为心理节奏和性格的折射，《上阳台帖》中的每一个墨点、每一根线条都很自然地渗透着李白的这种性格，表现了李白官场绝望后的一种清壮沉雄、自然放达，正如作品中所书：“非有老笔，清壮可穷”，其性情表现得淋漓尽致。\n《上阳台帖》书法苍劲雄浑，气势飘逸，落天纵，笔力劲健，收笔处一放开锋，用笔纵放自如，快健流畅，其用笔于苍劲中见挺秀，意态万千，是《李白墓碑》中所称的“思高笔逸”的真实写照。\n《上阳台帖》其字宽博开张，稚拙而又放逸，其结体亦参差跌宕，顾盼有情，奇趣无穷。\n纵观全帖二十五字，字的长短大小悬殊，“山、水、千、非、有、壮、十八日、上、书、太白”都十分短促，而“高、万、老、笔、清、台”则一字顶俩、顶仨。\n这是很难安排的，作者是靠结构的奇特来显示生的，如“十八日上”四字，有平整欹侧，有仰盼跌宕，笔短而意长。\n而字长者，作者并不将其压缩，而是任其舒展，特别豁达的是“老”字与“台”字，两个撇如逞雄使气一般地挥下，成了此篇最为雄肆的笔触；“何穷”二字则亦收亦放，波澜层叠、浑然一体。\n《上阳台帖》全篇共有草书五行，其章法大小错落，通幅跳跃动荡，浑朴饱满且又天真烂漫，给人以雄壮辽阔、气象不凡之感。\n雄壮辽阔在于用笔的粗犷沉着，笔笔水分充足饱满。\n书写时又缓缓推进，笔笔送到。\n整个作品幅式很小，却体现了一种苍茫、浑厚之感，文中大字小字、小字大字相互交错，真如前人所说“如老翁携幼孙行，长短参差，而情意真挚，痛痒相关”。\n《上阳台帖》写得跌宕起伏，错落有致，如大江大河，突兀而至；如山石崩绝，凌空而来。\n看似漫不经心，随意所书，实则格律森严，神形逸荡。\n“山高”两字，犹如空中坠石，体现出一种险疾之势。\n“非有老笔”四字中的“非”字写得扁而放纵，“有”字则写得小而含蓄，“老”字突然沉笔挥洒，放胆伸毫，将上述诸字轻轻托了起来。\n再如“情”字和“台”字，看似结构并不平稳，似有摇摇欲坠之状，然而，正是在看似颠簸之中营造出的稳健才有韵味。\n“情”字重心略有倾斜，最后一点又恰到好处地把险势拉了回来，真是令人叫绝。\n“台”字的一横同样也起到了这种于险疾中求平整的作。\n整幅作品就像李白的诗歌一样，是跳跃的、非常态的，但又充满了激情，充满了迈，与“黄河之水天上来，奔流到海不复回”的意境相似。\n同时，《上阳台帖》是内容与形式的统一。\n就内容说，令人朗朗上口：“山高水长，物象千万，非有老笔，清壮可穷”，一派苍茫大气，而形式也极相辅。\n明代董其昌《画禅室随笔》：“如凤翥鸾翔，似奇反正。\n” 故宫博物院研究员 ：“太白以诗文青史第一行世，不特书法。\n白此帖中，唯质成文，援笔墨中锋引带，驭锋直冲拔真气，点承暗筑运斤风，沉着痛处，出者进也，纵勒驰掣间：煌煌然，若熔出冶，随地流走，真大德曰生也。\n” 现代书画家、文物鉴定家 ：“此帖有李白名款，有宋徽宗亲题签和跋，用笔不循故常，天马行空，吻合于李白诗风豪迈不覊，宜为太白真迹。\n” 《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n李白留有诗歌九百多首，豪迈奔放，别具一格。\n而其书法则是其诗歌流传的重要载体，亦其诗歌重要的流传途径。\n由其亲笔抄写，且现存下来的《上阳台帖》更是弥足珍贵。\n抚摩观之，诗如其人，书亦如其人也。\n故《上阳台帖》对于李白及其诗的艺术特质和渊源的把握意义重大。\n《上阳台帖》北宋时曾入宣和内府，后归 ，元代经 处，明藏 天籁阁。\n清代先为 所得，再入内府，清末流出宫外，民国时入张伯驹手。\n新中国成立后，张伯驹将《上阳台帖》赠给毛泽东。\n1958年，毛泽东自己立下规矩，党和国家领导人所收礼品一律缴公，所以，这件《上阳台帖》即被送到北京故宫博物院，转交故宫博物院，后一直为其所收藏。\n《上阳台帖》在清代顾复《平生壮观》、清内府《石渠宝笈》、 《墨缘汇观》、 《吴式书画记》等处均有著录。\n29年9月日—11月1日，北京故宫为庆祝建国6周年而推出“故宫藏历代书画展”第六期，《上阳台帖》为展览精品之一。\n218年4月2日—5月6日，在北京故宫武英殿举办的“予所收蓄·永存吾土——张伯驹先生诞辰12周年纪念展”上，《上阳台帖》作为精品之一展出。\n李白（71－762年），字太白，号青莲居士，唐朝诗人，有“诗仙”之称。\n汉族，出生于剑南道之绵州（今四川绵阳江油市青莲乡），一说生于西域碎叶城（今吉尔吉斯斯坦托克马克）。\n存世诗文千余篇，代表作有《蜀道难》、《将进酒》等诗篇，有《李太白集》传世。\n亦工于书法，有《上阳台帖》传世。",[7,24,86,178,263,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9563a2fc3f539952c7388c4fd79fdb.jpg","纵28.5cm，横38.1cm",[328],{"id":4403,"slug":4404,"title":4405,"dynasty":76,"author":4406,"museum":20,"description":4407,"tags":4408,"thumbUrl":4409,"material":123,"size":4410,"collection":181,"collections":4411,"showCount":4412,"zanCount":2209,"manualWeight":48,"mainColor":49},214365,"fang-ju-ran-shan-shui-wang-jian-214365","仿巨然山水","王鉴","王鉴（1792-1867）是清代著名的画家，他的作品《仿巨然山水》是其代表作之一。\n\n《仿巨然山水》描绘了一幅山水画面，王鉴在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。王鉴在《仿巨然山水》中仿照了巨然（元代画家）的山水画风，并加以提升，使作品更具艺术性。\n\n《仿巨然山水》被认为是王鉴写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仿巨然山水》也是收藏家们青睐的经典之作。\n\n王鉴的《仿巨然山水》不仅是一幅精美的画作，更是一首关于自然之美的诗篇。在这幅画作中，王鉴巧妙地运用了水墨画的技法，勾勒出山水的层次感和自然的秀美。作品中的山川、树木、花卉都表现出了自然界的细腻与丰富，使观者感受到大自然的魅力。",[7,23,225,105,177,27,29,734,282,466,34,175,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[181],319,{"id":4414,"slug":4415,"title":4416,"dynasty":76,"author":336,"museum":20,"description":4417,"tags":4418,"thumbUrl":4422,"material":637,"size":4423,"collection":44,"collections":4424,"showCount":4425,"zanCount":2209,"manualWeight":48,"mainColor":49},222724,"qian-long-huang-di-chao-fu-xiang-lang-shi-ning-222724","乾隆皇帝朝服像","画中的乾隆皇帝慈眉善目，端庄大方，透露着一国之君的威严。郎世宁所画的肖像画，都有着造型准确，并富有立体感的特点;同时为了适合东方民族的欣赏习惯与审美心理，在画面光线的运用上，一律取正面光照，从而使人物面部五官都处在明亮部位，观之非常清晰。\n该作品是根据清代宫廷礼制的需要，每位皇帝、皇后以及主要的嫔妃都画有穿戴整齐的朝服像，这些作品华丽工细，格式相似。此幅即是郎世宁为乾隆皇帝所画的朝服像。",[7,27,4419,28,106,433,4420,1115,1116,4421,63,300],"油画","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea3a27eb07c0608d6f69acd2f551812.jpg","52cmx35cm",[44],318,{"id":4427,"slug":4428,"title":4429,"dynasty":18,"author":676,"museum":206,"description":4430,"tags":4431,"thumbUrl":4433,"material":409,"size":2332,"collection":181,"collections":4434,"showCount":4425,"zanCount":2209,"manualWeight":48,"mainColor":94},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[7,23,209,25,244,28,173,29,176,34,466,106,4432,108,109,1269,468,558],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg",[181],{"id":4436,"slug":4437,"title":1462,"dynasty":189,"author":4438,"museum":206,"description":4439,"tags":4440,"thumbUrl":4441,"material":409,"size":4442,"collection":181,"collections":4443,"showCount":4444,"zanCount":2209,"manualWeight":48,"mainColor":49},214248,"shan-shui-tu-sheng-mao-214248","盛懋","岸畔枯树疏柳，枝桠虬曲如篆，垂丝轻拂似诉。一舟横卧矶边，舱内人影半隐，或凭舷观水，或抱膝沉思，将天地的空阔收于方寸之间。笔墨兼工带写，山石皴染沉稳，草木勾勒灵动，枯润相生间晕开元人特有的清旷之气。无繁复景致，却以极简构图载起无尽悠远——是独处的安然，亦是与自然对谈的从容。整幅画如淡茶一盏，初看寻常，细品则唇齿留甘，心魂被那无声静谧轻轻包裹，顿觉尘嚣远遁，胸臆渐宽。山石的沉稳与草木的灵动交织，枯笔的苍劲与湿墨的柔润相映，每一处线条都藏着对天地的敬畏，每一抹晕染都浸着对心境的描摹，于简淡中见深致，于静默里藏深情。",[7,189,23,24,225,173,177,29,174,866,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a77d5c354804d75fd535e1b40cf2362.jpg","67.1x33.5",[181],317,{"id":4446,"slug":4447,"title":4448,"dynasty":949,"author":3264,"museum":3808,"description":4449,"tags":4450,"thumbUrl":4452,"material":3812,"size":139,"collection":139,"collections":4453,"showCount":4454,"zanCount":2209,"manualWeight":48,"mainColor":94},220455,"song-ying-pan-tian-shou-220455","松鹰","此作以顶天立地的章法铺陈画面，斜出的苍松老干以赭墨勾绘，皴点兼具，苔斑错落，尽显虬劲古拙；浓焦墨写出的松针如戟，攒簇之间满溢森然气势。\n踞于高枝的雄鹰以泼墨写就翎羽，黑墨酣畅厚重，留白衬出羽间层次，利喙劲爪刻画传神，昂首远眺间，桀骜猛悍的英豪气魄喷薄而出。\n左侧题款排布奇崛，篆隶笔意融于书法，与画面刚健气质浑然一体，以书入画尽显金石风骨。整幅笔墨苍雄老辣，将古松坚韧与雄鹰悍勇相融，沉雄霸悍的写意风骨尽显无遗。",[7,23,173,400,1365,4451,283],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895cd60cb9d35a171c557835ae11656f.jpg",[],316,{"id":4456,"slug":4457,"title":4458,"dynasty":18,"author":461,"museum":447,"description":4459,"tags":4460,"thumbUrl":4461,"material":123,"size":4462,"collection":42,"collections":4463,"showCount":4464,"zanCount":2209,"manualWeight":48,"mainColor":49},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[7,209,23,24,25,29,2019,177,173,27,734,385,384,865,1365,1775,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[42,181],315,{"id":4466,"slug":4467,"title":4468,"dynasty":189,"author":4469,"museum":132,"description":4470,"tags":4471,"thumbUrl":4473,"material":327,"size":4474,"collection":181,"collections":4475,"showCount":4464,"zanCount":1337,"manualWeight":48,"mainColor":49},214732,"zhu-lin-mao-she-tu-guan-dao-sheng-214732","竹林茅舍图","管道升","管道升（公元665-744）是中国元代著名画家，代表作品有《竹林茅舍图》。《竹林茅舍图》是管道升的杰作之一，也是他最著名的作品之一。该画作描绘了一幅荒凉的竹林山水画，画中的茅舍与周围的竹林形成了鲜明的对比。画面中的茅舍虽然很小，但却被描绘得格外细腻，使得整幅画充满了生动的气息。管道升的《竹林茅舍图》被誉为元代山水画的巅峰之作，具有极高的艺术价值。",[7,23,24,173,4472,29,226,770,108,177,176,1871],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","26x44cm",[181],{"id":4477,"slug":4478,"title":4479,"dynasty":99,"author":2242,"museum":260,"description":4480,"tags":4481,"thumbUrl":4483,"material":527,"size":4484,"collection":90,"collections":4485,"showCount":4486,"zanCount":1337,"manualWeight":48,"mainColor":94},222557,"hua-hui-tu-ce-chen-chun-222557","花卉图册","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[7,23,24,83,81,400,173,27,84,369,283,759,4482],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[90,45],314,{"id":4488,"slug":4489,"title":4490,"dynasty":76,"author":582,"museum":447,"description":4491,"tags":4492,"thumbUrl":4493,"material":123,"size":4494,"collection":44,"collections":4495,"showCount":4486,"zanCount":48,"manualWeight":48,"mainColor":94},218338,"shen-xian-gu-shi-tu-ce-leng-mei-218338","神仙故事图册","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[7,23,28,27,81,106,384,176,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3701c85d791f88982b1c29414dcbb054.jpg","38x42",[44],{"id":4497,"slug":4498,"title":4499,"dynasty":76,"author":1215,"museum":20,"description":4500,"tags":4501,"thumbUrl":4503,"material":409,"size":4504,"collection":90,"collections":4505,"showCount":4486,"zanCount":1314,"manualWeight":48,"mainColor":94},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[7,209,23,24,225,173,27,83,28,84,284,607,1629,4502],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[90],{"id":4507,"slug":4508,"title":4509,"dynasty":99,"author":817,"museum":1406,"description":3629,"tags":4510,"thumbUrl":4511,"material":67,"size":4512,"collection":139,"collections":4513,"showCount":4514,"zanCount":48,"manualWeight":48,"mainColor":94},221985,"shan-shui-li-zhou-wen-zheng-ming-221985","山水立轴",[7,23,29,734,282,384,173,400,225,699,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee332f86c87306407e318e216c5c719a.jpg","169×97cm",[],313,{"id":4516,"slug":4517,"title":4518,"dynasty":76,"author":963,"museum":20,"description":4519,"tags":4520,"thumbUrl":4521,"material":1271,"size":139,"collection":139,"collections":4522,"showCount":4523,"zanCount":1314,"manualWeight":48,"mainColor":94},234231,"yuan-ji-shan-shui-tu-juan-shi-tao-234231","原济山水图卷","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[7,23,173,25,177,29,108,109,176,34,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98857fb9227e3d88875c038ee2e558af.jpg",[],312,{"id":4525,"slug":4526,"title":4527,"dynasty":99,"author":3869,"museum":20,"description":4528,"tags":4529,"thumbUrl":4531,"material":4532,"size":4533,"collection":90,"collections":4534,"showCount":4523,"zanCount":1314,"manualWeight":48,"mainColor":49},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[7,209,23,24,225,28,27,83,4530,407,266,229,926,84,1628],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[90,45],{"id":4536,"slug":4537,"title":4538,"dynasty":18,"author":1677,"museum":1666,"description":4539,"tags":4540,"thumbUrl":4542,"material":573,"size":4543,"collection":42,"collections":4544,"showCount":4545,"zanCount":1104,"manualWeight":48,"mainColor":49},221184,"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[7,23,24,209,81,28,27,83,402,4541],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[42,90,45],311,{"id":4547,"slug":4548,"title":4549,"dynasty":99,"author":2494,"museum":206,"description":4550,"tags":4551,"thumbUrl":4552,"material":712,"size":4553,"collection":181,"collections":4554,"showCount":4545,"zanCount":1337,"manualWeight":48,"mainColor":94},220923,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-220923","临倪瓒东冈草堂图轴","注意画叶也要讲究笔法，不是胡乱的点画的，要“写”出来，画的叶子要有笔力。在开始画的时候，先浅墨而后蘸取浓墨在笔尖，由内到外，还需要有位置经营概念，去写画出来。",[7,23,173,105,225,29,384,176,109,106,263,177,865,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0364821d55f9583be7c7bb15bf0fc.jpg","87.4x65",[181,163],{"id":4556,"slug":4557,"title":4558,"dynasty":204,"author":1839,"museum":56,"description":4559,"tags":4560,"thumbUrl":4561,"material":67,"size":4562,"collection":181,"collections":4563,"showCount":4564,"zanCount":48,"manualWeight":48,"mainColor":49},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[7,23,209,24,25,29,109,174,34,1842,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[181,163],309,{"id":4566,"slug":4567,"title":4568,"dynasty":99,"author":170,"museum":1098,"description":4569,"tags":4570,"thumbUrl":4571,"material":88,"size":4572,"collection":181,"collections":4573,"showCount":4564,"zanCount":2209,"manualWeight":48,"mainColor":49},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[7,23,24,29,27,173,177,105,108,109,176,34,466,106,107,1267,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 cm",[181,45],{"id":4575,"slug":4576,"title":380,"dynasty":204,"author":366,"museum":1098,"description":4577,"tags":4578,"thumbUrl":4580,"material":123,"size":4581,"collection":90,"collections":4582,"showCount":4583,"zanCount":1104,"manualWeight":48,"mainColor":94},220047,"bai-niao-chao-feng-tu-xu-xi-220047","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[7,209,23,25,28,27,83,266,297,60,34,386,176,109,4579],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 x 236.9",[90],308,{"id":4585,"slug":4586,"title":4587,"dynasty":18,"author":1419,"museum":206,"description":4588,"tags":4589,"thumbUrl":4590,"material":123,"size":4591,"collection":181,"collections":4592,"showCount":4583,"zanCount":1104,"manualWeight":48,"mainColor":49},218286,"yue-ye-bo-ruan-tu-ma-yuan-218286","月夜拨阮图","淡墨晕染的远山如黛，似笼着一层薄纱，与昏黄天色相融成朦胧梦境。左侧山石嶙峋，几竿修竹斜逸而出，枝叶疏朗，墨线劲挺如剑。竹下茅舍半隐，一人凭栏拨阮，指尖流转间，琴声似随晚风漫过江面，与竹影婆娑和鸣。画面构图简括，以边角之景见天地辽阔，留白处尽是月夜空寂与悠远。山石用斧劈皴勾勒，笔触刚健；竹子笔法灵动，尽显生机；人物神态闲适，藏着文人清雅况味。整幅画于简约中蕴无限情韵，将月夜静谧与文人诗意诠释得淋漓尽致，是南宋山水小品的妙笔，尽显水墨写意的空灵之美。",[7,23,209,24,225,173,27,29,226,176,1265,266,285,210,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe316cc25382668a97677ff3d3ec2d844.jpg","111.5x53.1cm",[181],{"id":4594,"slug":4595,"title":4596,"dynasty":18,"author":278,"museum":206,"description":1710,"tags":4597,"thumbUrl":1713,"material":123,"size":139,"collection":42,"collections":4598,"showCount":4599,"zanCount":1314,"manualWeight":48,"mainColor":49},220213,"mei-hua-shan-cha-tu-yi-ming-220213","梅花山茶图",[7,23,24,28,27,83,402,1292,370],[42,90],307,{"id":4601,"slug":4602,"title":4603,"dynasty":76,"author":278,"museum":132,"description":4604,"tags":4605,"thumbUrl":4607,"material":123,"size":4608,"collection":90,"collections":4609,"showCount":4610,"zanCount":48,"manualWeight":48,"mainColor":49},216676,"long-bao-tu-yi-ming-216676","龙豹图","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[7,209,23,24,27,28,173,433,4606,808,176,737,37],"豹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","87x82cm",[90],306,{"id":4612,"slug":4613,"title":4614,"dynasty":18,"author":1137,"museum":311,"description":4615,"tags":4616,"thumbUrl":4617,"material":139,"size":139,"collection":139,"collections":4618,"showCount":4619,"zanCount":1314,"manualWeight":48,"mainColor":49},227973,"guo-shu-lai-qin-tu-ye-lin-chun-227973","果熟来禽图页","设色清润柔和，工细写实，将秋日枝桠间的小景勾勒得鲜活灵动。饱满的海棠果粉白晕染如凝脂，带着熟透的温润质感，叶片或舒展或蜷曲，虫蚀残痕都细腻入微，尽摹自然生趣。娇俏禽鸟侧身栖于细枝，绒毛细密蓬松，圆目灵动似在细听秋声，姿态悠然闲适。\n\n全画无繁复构图，却以精妙笔触将蔬果禽鸟的神韵刻画尽致，把寻常秋意酿成隽永诗意，于方寸间尽显雅致空灵的田园意趣，融写生工致与文人雅韵为一体，静逸鲜活，尽显独有的雅致审美。",[7,209,23,24,81,28,27,83,2267,1628,926,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a8fd70bb850781c10c7ecb22f43905.jpg",[],304,{"id":4621,"slug":4622,"title":4623,"dynasty":76,"author":381,"museum":523,"description":4624,"tags":4625,"thumbUrl":4626,"material":4627,"size":4628,"collection":90,"collections":4629,"showCount":4619,"zanCount":972,"manualWeight":48,"mainColor":49},223166,"he-tang-yuan-yang-tu-shen-quan-223166","荷塘鸳鸯图","夏天，荷花风光，荷叶盛开，老嫩枯萎，随风飘扬，荷花枝叶高高突出。\n荷花或盛开，或抱以待放。 淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[7,23,24,209,225,28,27,83,136,137,2053,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[90,45],{"id":4631,"slug":4632,"title":4633,"dynasty":949,"author":1940,"museum":1941,"description":4634,"tags":4635,"thumbUrl":4637,"material":139,"size":139,"collection":139,"collections":4638,"showCount":4619,"zanCount":48,"manualWeight":48,"mainColor":94},220497,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-ji-le-pu-sa-si-shen-xiang-zhang-da-qian-220497","张大千临摹敦煌壁画初唐伎乐菩萨四身像","四身伎乐菩萨环立莲台，眉目温婉静穆，气韵安然祥和。诸人各执乐器，或按排箫、或拨琵琶、或持拍板、或摇铃鼓，神态各殊却皆浸在丝竹雅韵之中。\n\n画作敷色浓烈妍丽，朱砂石青交相辉映，承袭初唐敦煌壁画的富丽厚重。铁线描勾勒衣袂婉转流动，晕染沉实细腻，精准复刻出古壁画的庙堂质感，将盛唐伎乐的雍容之美凝于绢上，让千年敦煌的梵音雅乐跃然眼前。",[7,23,24,105,1945,28,27,243,106,4636,210],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203948a899df0e2d4917b8f5c73e4421.jpg",[],{"id":4640,"slug":4641,"title":4642,"dynasty":18,"author":461,"museum":206,"description":4643,"tags":4644,"thumbUrl":4645,"material":699,"size":4646,"collection":42,"collections":4647,"showCount":4648,"zanCount":2209,"manualWeight":48,"mainColor":49},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[7,23,24,209,225,29,109,106,34,558,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[42,163],303,{"id":4650,"slug":4651,"title":4652,"dynasty":18,"author":1419,"museum":206,"description":4653,"tags":4654,"thumbUrl":4657,"material":409,"size":139,"collection":42,"collections":4658,"showCount":4659,"zanCount":1337,"manualWeight":48,"mainColor":49},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[7,209,23,24,173,1218,177,4655,403,4656,734,175,735,282,385,34,468,558],"边角构图","溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[42,181],302,{"id":4661,"slug":4662,"title":4663,"dynasty":18,"author":1793,"museum":206,"description":4664,"tags":4665,"thumbUrl":4666,"material":123,"size":4667,"collection":42,"collections":4668,"showCount":4659,"zanCount":1337,"manualWeight":48,"mainColor":49},218908,"han-lin-tu-li-cheng-218908","寒林图","老树虬枝如铁，皴裂躯干似承霜雪低语。蟹爪般枝桠向上伸展，墨色浓淡晕染清寂寒意。溪流蜿蜒穿林，坡石错落间远近层次渐铺，平远之境顿生。淡墨皴擦见长，清润雅致中透着荒寒之气，尽显北方山水萧索静谧。林间风声与水流轻响似可听闻，引人入幽深之境，于简淡笔墨里藏着无尽悠远意韵，仿佛能触到寒林深处的清冷与安宁。",[7,23,173,177,225,29,1423,866,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00763436e1ca42c45455bf4e9f3abae8.jpg","146.8x75.2",[42,181],{"id":4670,"slug":4671,"title":4672,"dynasty":18,"author":3466,"museum":206,"description":4673,"tags":4674,"thumbUrl":4679,"material":409,"size":4680,"collection":90,"collections":4681,"showCount":4659,"zanCount":972,"manualWeight":48,"mainColor":94},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[7,23,24,25,173,1904,400,83,84,4675,226,227,369,783,370,4676,4677,3081,781,4678,404,264,405],"蔬果","白菜","萝卜","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[90],{"id":4683,"slug":4684,"title":4685,"dynasty":189,"author":3051,"museum":206,"description":4686,"tags":4687,"thumbUrl":4694,"material":67,"size":4695,"collection":42,"collections":4696,"showCount":4697,"zanCount":1009,"manualWeight":48,"mainColor":94},221708,"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[7,23,209,27,28,386,782,283,83,24,4688,4689,4690,84,940,176,4176,4691,4692,737,4693],"设色花鸟","工笔花鸟","元代绘画","工笔设色","花鸟题材","蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[42,90,45],301,{"id":4699,"slug":4700,"title":4701,"dynasty":18,"author":278,"museum":206,"description":4702,"tags":4703,"thumbUrl":4704,"material":123,"size":139,"collection":90,"collections":4705,"showCount":4697,"zanCount":1009,"manualWeight":48,"mainColor":94},216104,"shu-kui-yi-ming-216104","蜀葵","画面中蜀葵悄然绽放，花瓣层叠如轻绡，粉晕从瓣尖漫向花心，似沾了晨露的柔媚。叶片脉络纤细如丝，墨绿间晕染浅碧，藏着风过的微颤。枝干斜逸有致，不带刻意雕琢的匠气，却透着自然生长的生趣。古雅的底色衬得花姿愈发清雅，每一笔都凝着宋人对万物的细腻观照——不追繁复，只撷取蜀葵最动人的一瞬，以温润笔触将娇妍与静谧锁于方寸。无炫技的华丽，唯有物态的鲜活与文人的雅致，恰是宋画“以形写神”的韵味：似能嗅到淡香浮动，触到叶片微凉，让观者于静穆中感知生命的鲜活。",[7,2042,23,209,1352,28,27,83,4701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b86c98450e1da128f001588b205adf.jpg",[90],{"id":4707,"slug":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洁而秀逸的兰花，生于幽谷，遗世独立，清雅高洁。在历朝历代文人雅士的笔下，以兰花为表现对象的作品比比皆是。 画兰究竟始于何时已无法考证。《全唐诗》载有牟融《山寺律僧画兰竹》诗。查阅 唐宋绘画史专著，未见有关唐宋画家画兰的记载。史传宋杨补之画过兰花，但作品没有流传下来。有作品流传的画兰名家，当以徐禹功、赵孟坚、郑思肖为最早。其次如赵孟頫、赵雍、王英孙、释道隐、释明雪窗、李至规等亦擅画兰。\n释明雪窗 （？－约1352），元代僧人，画家，以画兰花闻名于世。俗姓曹，号雪窗，法号普明，通称明雪窗，松江（今属上海市）人，在平江出家。至元四年（1338）曾为平江虎丘云岩寺主持，后改为承天能仁主持。精于针灸，擅画兰。与释柏子庭齐名，时称“家家恕斋（班惟志）字，户户雪窗兰”。\n四海出家，同称释氏，中国佛教的出家人都姓释迦牟尼的“释”。在中国美术史上，都把这位元代画兰高僧称为“释明雪窗”，其实应该和石涛、髡残一样，把他称为“明雪窗”。雪窗和尚的画和他的名字一样，在今天鲜为人知，但在大师辈出的元代，雪窗和尚的兰花可谓是家喻户晓，我们无法想象“家家恕斋字，户户雪窗兰”所描述的是一种怎样的景象。\n元人孔齐撰《至正直记》（又名《静斋至正直记》、《静斋类稿》）是作者避兵四明时写的一部见闻杂记，内容包括当时政治、经济状况，器物制作情况，文学、艺术成就和当时的人文社会习俗，是一部很有资料价值的笔记。《至正直记》卷二有《画兰法》一文，记载了一位名叫郎玄隐的道士向孔齐传授明雪窗画兰技法，这些方法和今天画兰教科书里的方法并无二致。",[7,23,24,173,83,406,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c046834cdc068347a37c68ff699feb.jpg","32.9 36.0",[90,163],295,{"id":4793,"slug":4794,"title":4795,"dynasty":99,"author":4796,"museum":20,"description":4797,"tags":4798,"thumbUrl":4799,"material":40,"size":4800,"collection":90,"collections":4801,"showCount":4802,"zanCount":972,"manualWeight":48,"mainColor":49},221941,"zhu-he-tu-zhou-bian-wen-jin-221941","竹鹤图轴","边文进","图中一对仙鹤姿态优雅，轩昂高洁，在翠竹间怡然自得。画家以工细的笔法描绘仙鹤的形象，高超的技法使笔触融汇于物象之中，仙鹤洁白轻盈的羽毛片片分明，好似浮在画面之上，令观者屏息凝神。仙鹤的头颈与尾羽处则用重墨，再加上鹤顶的一点丹红，格外醒目。画竹以墨笔双勾再施色彩。全幅设色对比鲜明，整体画风是边景昭的典型风格，承继了五代黄筌以及宋代画院花鸟画的富贵品貌，带有浓郁的宫廷气息。",[7,209,23,24,225,28,27,83,226,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed729de72a5a8f756cc02b29a5044bdd.jpg","纵180.4厘米，横118厘米",[90,45],294,{"id":4804,"slug":4805,"title":4806,"dynasty":99,"author":170,"museum":1279,"description":4807,"tags":4808,"thumbUrl":4809,"material":4810,"size":4811,"collection":181,"collections":4812,"showCount":4813,"zanCount":1337,"manualWeight":48,"mainColor":94},222133,"qing-yuan-tu-juan-shen-zhou-222133","青园图卷","《明沈周青园图》现藏于旅顺博物馆，此图绘湖山秋色，为沈周传世珍品。该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。",[7,23,24,25,173,177,86,263,29,35,4272,34,108,109,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923acb9824eda51981b302865ea46a85.jpg","纸本水墨淡着色","画心纵29.1、横188.7厘米",[181,45],293,{"id":4815,"slug":4816,"title":4817,"dynasty":189,"author":1442,"museum":206,"description":4818,"tags":4819,"thumbUrl":4820,"material":409,"size":4821,"collection":90,"collections":4822,"showCount":4813,"zanCount":1337,"manualWeight":48,"mainColor":94},218666,"zhu-zhi-ni-zan-218666","竹枝","竹枝以中锋铁线勾勒，瘦劲如屈铁，竹叶疏疏落落，墨色清润中见骨力。枝干挺拔却不僵滞，叶片似含风微动，寥寥数笔便逸气横生。右侧题跋与竹影相映，书法萧散古雅，笔墨与文字浑然一体，尽显文人画“书画同源”之妙。画面留白空灵，古纸的淡褐底色衬得竹影愈发清寂，仿佛风过竹梢的轻响穿透纸面，窥见画家淡泊孤高的心境——不逐繁艳，独守疏朗，以极简之笔写尽竹之神韵与文人风骨。",[7,23,24,81,173,244,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec0cb571fce64d130bde86f086a5564.jpg","55.1x31.8cm",[90],{"id":4824,"slug":4825,"title":4826,"dynasty":18,"author":1419,"museum":4827,"description":4828,"tags":4829,"thumbUrl":4831,"material":123,"size":4832,"collection":44,"collections":4833,"showCount":4813,"zanCount":1337,"manualWeight":48,"mainColor":629},216984,"lin-he-jing-tan-mei-tu-ma-yuan-216984","林和靖探梅图","出光美术馆","这幅画描绘了林和靖在月下欣赏梅花的情景。这幅画的构图是马远一贯的风格，梅花从枝头倾泻而下，岩石山体方正而陡峭。笔触强烈而精致，意境和谐而安详。",[7,209,23,106,29,402,285,27,177,4830],"安详","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9ea9d952366cb765ccc6fbfc869219.jpg","25.5x36.6",[44],{"id":4835,"slug":4836,"title":4837,"dynasty":189,"author":1442,"museum":20,"description":4838,"tags":4839,"thumbUrl":4840,"material":1488,"size":4841,"collection":163,"collections":4842,"showCount":4843,"zanCount":2209,"manualWeight":48,"mainColor":94},220804,"zhu-zhi-tu-juan-ni-zan-220804","竹枝图卷","倪瓒的《清閟阁全集》卷九中有一段著名的《跋画竹》：“……余之竹聊以写胸中逸气耳，岂复较其似与非，叶之繁与疏，枝之斜与直哉！或涂抹久之，它人视以为麻为芦，仆亦不能强辩为竹，真没耐览者何……”。观此图，竹干与枝节形态宛然，竹叶偃仰疏密布置得当，生意十足，可知作者并非真的不求形似，而是在形似的基础上进一步强调神似，追求笔墨的逸趣，并借以抒发自己的心性。正如倪瓒自己所说：“下笔能形萧散趣，要须胸次有筼筜！”图中用笔峭劲灵动，似懒实苍，实已得墨竹画萧散清逸的旨趣。只有真正做到“胸中有成竹”并辅以高超的笔墨技巧，才能创作出如此优秀的艺术作品。",[7,209,23,24,25,173,226,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d030d476c04d5be58a178a4a413fb1.jpg","纵34厘米，横76.4厘米。",[163,1896],291,{"id":4845,"slug":4846,"title":4847,"dynasty":99,"author":170,"museum":101,"description":4848,"tags":4849,"thumbUrl":4851,"material":3812,"size":4852,"collection":181,"collections":4853,"showCount":4854,"zanCount":1314,"manualWeight":48,"mainColor":94},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[7,209,23,24,4850,2352,173,177,29,1365,176,1082,557,400],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纵154厘米，横60.39厘米",[181,45],290,{"id":4856,"slug":4857,"title":1732,"dynasty":99,"author":4858,"museum":447,"description":4859,"tags":4860,"thumbUrl":4861,"material":123,"size":139,"collection":44,"collections":4862,"showCount":4854,"zanCount":972,"manualWeight":48,"mainColor":49},219556,"shi-nv-tu-jiang-gan-219556","蒋干","春日深苑里，梅枝斜曳绽蕊，古殿檐角隐在花影后。两名仕女缓步游园，前者抬臂探花，似贪嗅浅淡春芳，后者抬手理鬓，眼波追随着花枝流转。\n\n衣纹以淡墨轻勾，敷色清妍柔润，朱红飘带轻垂摇曳，衬出仕女柔婉窈窕的身姿。山石花木晕染雅致，淡赭底色晕开暮春慵柔氛围，笔意秀逸灵动，将深闺仕女娇柔娴静的游园意趣藏在每一处笔触间，尽显清丽隽秀的古典风韵，把春日闲淡雅致的闺中情态铺陈得动人缱绻。",[7,23,24,225,28,27,106,59,1205,1712,107,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a387652910225c3f68016cca938aa4e.jpg",[44,45],{"id":4864,"slug":4865,"title":4866,"dynasty":204,"author":1733,"museum":206,"description":4867,"tags":4868,"thumbUrl":4870,"material":123,"size":4871,"collection":44,"collections":4872,"showCount":4873,"zanCount":1314,"manualWeight":48,"mainColor":49},219691,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-219691","荷亭弈钓仕女图","画亭榭临池，前後碧柳四垂，二女亭中对奕。亭外池荷盛开，翠叶田田。仕女或倚栏垂钓或持扇观荷，一派夏日悠闲景象。通幅屋界、衣饰刻画精细，粉花绿叶著色清丽，本幅旧传为南唐周文矩之作，唯笔墨、器用皆显露出明清习气。",[7,23,209,24,225,28,27,106,59,175,136,107,1322,1434,298,4869],"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神仙思想的宋徽宗看来，描绘祥瑞之物的绘画活动不仅仅是单纯的艺术创作，而且也是祈祷国家和民族福祉的独特形式和粉饰太平的最好的政治工具，《祥龙石图》卷正是这种思想的反映。\n有史以来，宋徽宗第一个在艺术创作上实现了诗书画印的完整统一。在《祥龙石图》卷中，徽宗的题画诗不在卷尾，而是作为画面构成的一个部分，这必定是作者将构思和构图同时经营的结果，这在中国绘画史上有着划时代的重要意义。该卷构图极简，用色颇精，格调雅致，具有典型的北宋院体绘画的艺术风格。画家以墨笔层层渲染出太湖石的坑眼，结构分明，笔墨细腻入微，极其工整精雅，极可能是写生之作。该卷钤有元内府“天历之宝”等印玺，拖尾有清代陈仁涛、吴荣光的题跋，《辛丑消夏记》著录。",[7,23,24,25,28,173,229,226,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d21118b231b6391de049a9701658812.jpg","纵53.8厘米，横127.5厘米",[42,163,1896],{"id":4944,"slug":4945,"title":4946,"dynasty":18,"author":1137,"museum":206,"description":4947,"tags":4948,"thumbUrl":4951,"material":123,"size":4952,"collection":90,"collections":4953,"showCount":4932,"zanCount":1009,"manualWeight":48,"mainColor":94},215108,"cheng-huang-ju-lv-tu-lin-chun-215108","橙黄橘绿图","橙黄橘绿图是宋朝著名画家林椿的代表作之一。这幅画作品以其鲜艳的色彩和生动的画风而闻名。\n\n橙黄橘绿图描绘了一个山水田园风光的场景，画面中有美丽的山峦、流动的河流、茂密的树林、漫山遍野的果树以及田田温馨的农舍。画中还有许多动物和人物，丰富了画面的内容。\n\n林椿在橙黄橘绿图中运用了丰富的色彩，让这幅画作充满了生机和活力。他使用的是深浅不一的黄色、橙色、绿色等色彩，使画面显得栩栩如生。\n\n橙黄橘绿图被誉为宋朝山水画的杰作，其中蕴含着林椿对自然界的敬畏和深刻的观察。它不仅是一幅美丽的画作，更是一份对自然的热爱和尊重的见证。",[7,209,23,24,81,28,27,83,4949,4950,759],"橙","橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdd9d36a11dabb7bd116b3d6c267f63.jpg","23.8x24.3cm",[90],{"id":4955,"slug":4956,"title":4957,"dynasty":76,"author":2924,"museum":311,"description":4958,"tags":4959,"thumbUrl":4960,"material":139,"size":139,"collection":90,"collections":4961,"showCount":4962,"zanCount":1314,"manualWeight":48,"mainColor":94},224364,"hua-hui-si-ping-zhi-yi-ju-lian-224364","花卉四屏之一","此作用笔兼工带写，艳红凌霄花晕染鲜活，明丽暖调点亮画面，虬曲藤蔓以枯笔勾勒，苍劲老辣尽显古拙质感。湖石以淡墨勾皴，空灵通透的孔洞颇具玲珑意趣，与柔蔓繁花形成刚柔对照。\n\n两只螳螂纤毫毕现，身形灵动写实，悄然栖于枝桠，暗藏盛夏幽丛间的野趣。画面疏密错落，花叶垂曳、顽石静立，草虫点缀出鲜活生机，将庭院小景的清幽雅致尽数铺展，尽显清丽脱俗的花鸟意韵。",[7,23,24,225,28,27,83,606,607,84,283,954,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb303d0182d4e4c3f71398cf0140d09b1.jpg",[90,45],282,{"id":4964,"slug":4965,"title":3750,"dynasty":18,"author":4966,"museum":206,"description":4967,"tags":4968,"thumbUrl":4971,"material":123,"size":4972,"collection":42,"collections":4973,"showCount":4962,"zanCount":48,"manualWeight":48,"mainColor":94},218931,"shan-ju-tu-yan-su-218931","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[7,23,24,27,177,29,4969,176,34,109,1267,558,4970,38],"山居","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[42,181],{"id":4975,"slug":4976,"title":4977,"dynasty":76,"author":1047,"museum":132,"description":4978,"tags":4979,"thumbUrl":4980,"material":409,"size":139,"collection":90,"collections":4981,"showCount":4962,"zanCount":2209,"manualWeight":48,"mainColor":94},216365,"hua-niao-ce-zhu-da-216365","花鸟册","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[7,23,24,81,173,29,865,229,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[90],{"id":4983,"slug":4984,"title":4985,"dynasty":76,"author":963,"museum":132,"description":4986,"tags":4987,"thumbUrl":4989,"material":88,"size":4990,"collection":90,"collections":4991,"showCount":4962,"zanCount":2209,"manualWeight":48,"mainColor":94},214566,"mo-zui-za-hua-tu-ce-shi-tao-214566","墨醉杂画图册","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[7,209,23,24,81,173,27,29,106,229,1322,4988],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe201a3420f1c56b81b5ab47c63b832a.jpg","纵51.4厘米，横35.4厘米",[90],{"id":4993,"slug":4994,"title":4995,"dynasty":18,"author":1419,"museum":206,"description":4996,"tags":4997,"thumbUrl":4999,"material":573,"size":5000,"collection":42,"collections":5001,"showCount":5002,"zanCount":1104,"manualWeight":48,"mainColor":49},221513,"yi-yun-xian-xing-tu-ye-ma-yuan-221513","倚云仙杏图页","此图绘一枝杏花轻灵润秀、堆粉砌霜之姿。用笔精细工整，设色淡雅，气韵生动。",[7,23,24,81,27,28,83,4998,263],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691f620dcbbcac861019cd1c8d7a54bc.jpg","25.8X27.3",[42,90,45],280,{"id":5004,"slug":5005,"title":5006,"dynasty":18,"author":5007,"museum":311,"description":5008,"tags":5009,"thumbUrl":5010,"material":5011,"size":5012,"collection":328,"collections":5013,"showCount":5002,"zanCount":1314,"manualWeight":48,"mainColor":49},221221,"dao-gu-zhan-chang-yue-fei-221221","悼古战场","岳飞","岳飞我国历史上一位杰出的民族英雄。字鹏举，相州汤阴(今河南汤阴县)人。\n岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[7,209,23,24,25,86,178,2570,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[328],{"id":5015,"slug":5016,"title":5017,"dynasty":18,"author":1419,"museum":206,"description":5018,"tags":5019,"thumbUrl":5020,"material":88,"size":5021,"collection":181,"collections":5022,"showCount":5002,"zanCount":1104,"manualWeight":48,"mainColor":94},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[7,23,209,24,25,173,27,177,29,176,34,109,174,108,175,266,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[181,45],{"id":5024,"slug":5025,"title":5026,"dynasty":99,"author":100,"museum":56,"description":5027,"tags":5028,"thumbUrl":5029,"material":573,"size":5030,"collection":181,"collections":5031,"showCount":5032,"zanCount":5,"manualWeight":48,"mainColor":49},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[7,23,24,209,25,26,27,28,29,108,109,107,175,226,34,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[181,45],279,{"id":5034,"slug":5035,"title":5036,"dynasty":189,"author":3051,"museum":20,"description":5037,"tags":5038,"thumbUrl":5039,"material":527,"size":5040,"collection":90,"collections":5041,"showCount":5032,"zanCount":972,"manualWeight":48,"mainColor":94},221707,"ba-hua-tu-juan-qian-xuan-221707","八花图卷","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[7,23,24,25,27,28,83,405,369,1353,1905,1409,264,1712,693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纵29.4厘米，横333.9厘米",[90,45],{"id":5043,"slug":5044,"title":5045,"dynasty":76,"author":77,"museum":583,"description":5046,"tags":5047,"thumbUrl":5049,"material":67,"size":5050,"collection":90,"collections":5051,"showCount":5032,"zanCount":441,"manualWeight":48,"mainColor":94},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[7,23,24,25,27,29,177,34,5048,109,174,108,176,175],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 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的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[7,23,28,27,177,225,29,5242,31,174,106,176,867,34,5243],"枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[181,45],{"id":5248,"slug":5249,"title":5250,"dynasty":99,"author":170,"museum":583,"description":5251,"tags":5252,"thumbUrl":5253,"material":527,"size":5254,"collection":90,"collections":5255,"showCount":5234,"zanCount":1337,"manualWeight":48,"mainColor":94},222118,"ping-he-tu-shen-zhou-222118","瓶荷图","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[7,23,24,225,27,136,137,228,28,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","60x143cm",[90,45],{"id":5257,"slug":5258,"title":5259,"dynasty":54,"author":5260,"museum":20,"description":5261,"tags":5262,"thumbUrl":5263,"material":699,"size":5264,"collection":328,"collections":5265,"showCount":5234,"zanCount":1104,"manualWeight":48,"mainColor":94},221102,"mo-lan-ting-xu-feng-cheng-su-221102","摹兰亭序","冯承素","此本用楮纸两幅拼接，纸质光洁精细。因卷首有唐中宗李显神龙年号小印,故称“神龙本”。后纸明项元汴题记：“唐中宗朝馮承素奉勒摹晉右軍將軍王羲之蘭亭禊帖”，后世鉴藏家依此定为冯承素摹本。\n此卷前纸13行，行距较松；后纸15行，行距趋紧，然前后左右映带，攲斜疏密，错落有致，通篇打成一片，优于其它摹本。用笔俯仰反复，笔锋尖端锐利，时出贼毫、叉笔，既保留了照原迹勾摹的痕迹，又显露出自由临写的特点，摹临结合，显得自然生动，并具一定的“存真”的优点，在传世摹本中最称精美，体现了王羲之书法遒媚多姿、神情骨秀的艺术风神，为接近原迹的唐摹本。\n据考，卷首“神龙”半印小玺并非唐中宗内府钤印，而是后人所添，定冯承素摹也不可信，但仍是唐以来流传有绪的古摹本。\n本卷前隔水有“唐摹兰亭”四字标题。引首乾隆御题“晋唐心印”四字。后纸有宋至明20家题跋、观款。钤鉴藏印180余方。其流传经过，根据各题跋、印记和各家著录，大致如下：南宋高宗、理宗内府、驸马都尉杨镇，元郭天锡，明内府、王济、项元汴，清陈定、季寓庸、乾隆内府。历代著录有：明汪砢玉《珊瑚网·书录》、吴其贞《书画记》，清卞永誉《式古堂书画汇考·书考》、顾复《平生壮观》、吴升《大观录》、阮元《石渠随笔》、《石渠宝笈·续编》等。刻入“兰亭八柱”，列第三。",[7,86,178,105,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49007199f121076b6c9a9fcfb4a3913.jpg","纵24.5厘米，横69.9厘米",[328],{"id":5267,"slug":5268,"title":5269,"dynasty":18,"author":5270,"museum":1098,"description":5271,"tags":5272,"thumbUrl":5273,"material":409,"size":5274,"collection":44,"collections":5275,"showCount":5234,"zanCount":1314,"manualWeight":48,"mainColor":94},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[7,209,23,24,25,244,173,106,35,34,29,150,263,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 x 436.2",[44,328],{"id":5277,"slug":5278,"title":5279,"dynasty":99,"author":936,"museum":447,"description":5280,"tags":5281,"thumbUrl":5282,"material":123,"size":5283,"collection":90,"collections":5284,"showCount":5234,"zanCount":1009,"manualWeight":48,"mainColor":49},214701,"ping-hua-tu-chen-hong-shou-214701","瓶花图","陈洪绶用菊花和霜叶画了一个瓶子，以庆祝另一个人的生日。有些学者认为，在明朝晚期没有这么大的玻璃瓶。",[7,23,24,28,27,286,407,62,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf52640088b9212d2c81a4c6b72f18a8.jpg","174.5x98",[90],{"id":5286,"slug":5287,"title":5288,"dynasty":99,"author":170,"museum":20,"description":5289,"tags":5290,"thumbUrl":5291,"material":841,"size":5292,"collection":139,"collections":5293,"showCount":5294,"zanCount":1104,"manualWeight":48,"mainColor":94},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[7,23,24,25,173,27,177,29,557,34,403,109,176,175,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":5296,"slug":5297,"title":5298,"dynasty":1483,"author":3526,"museum":4889,"description":5299,"tags":5300,"thumbUrl":5301,"material":123,"size":5302,"collection":328,"collections":5303,"showCount":5294,"zanCount":1337,"manualWeight":48,"mainColor":94},218649,"xing-rang-tie-wang-xi-zhi-218649","行穰帖","此帖为唐代王羲之草书作品的双钩，2行，15字。笔画厚实，没有尖锐的边缘，有如印章的含义。角色是开放和多样的",[7,24,25,178,86,263,622,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefa6965b37716730ae0572603f9cce.jpg","24.4x8.9",[328],{"id":5305,"slug":5306,"title":5307,"dynasty":18,"author":645,"museum":20,"description":5308,"tags":5309,"thumbUrl":5311,"material":2916,"size":5312,"collection":42,"collections":5313,"showCount":5314,"zanCount":1314,"manualWeight":48,"mainColor":49},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[7,209,23,24,225,27,28,403,106,29,5310,283,34,210],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","纵123.6厘米、横60.4厘米",[42],265,{"id":5316,"slug":5317,"title":5318,"dynasty":76,"author":1473,"museum":311,"description":5319,"tags":5320,"thumbUrl":5321,"material":139,"size":139,"collection":139,"collections":5322,"showCount":5323,"zanCount":2209,"manualWeight":48,"mainColor":94},230238,"mei-hua-tu-ce-ye-9-jin-nong-230238","梅花图册页-9","此作用枯笔焦墨写老干，如铁铸横斜，皴擦出斑驳苍古的肌理，尽显梅枝饱经霜雪的虬劲风骨。淡墨圈瓣点蕊，繁花开处疏密错落，留白铺陈出清寂空阔的意境，无半分艳冶之态。\n\n以书入画，笔意朴拙古雅，将梅花疏淡冷逸之姿，与清冷高洁的品格融为一体。墨色浓淡交织，淡写繁花、重绘老干，明暗相生间勾勒出冬梅凌霜绽放的清逸之态，寥寥笔墨便把孤高脱俗的隐逸襟怀寄寓其中。",[7,23,24,81,173,402,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93535ffaf23a10cb1e78f850f322be37.jpg",[],264,{"id":5325,"slug":5326,"title":1462,"dynasty":189,"author":4438,"museum":206,"description":5327,"tags":5328,"thumbUrl":5329,"material":5330,"size":5331,"collection":181,"collections":5332,"showCount":5323,"zanCount":1337,"manualWeight":48,"mainColor":49},221755,"shan-shui-tu-sheng-mao-221755","元代盛懋《山水图》，盛懋 ，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[7,23,24,27,177,29,866,174,282,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[181,45],{"id":5334,"slug":5335,"title":5336,"dynasty":18,"author":446,"museum":78,"description":5337,"tags":5338,"thumbUrl":5339,"material":699,"size":5340,"collection":328,"collections":5341,"showCount":5323,"zanCount":1314,"manualWeight":48,"mainColor":94},214380,"can-zheng-tie-mi-fei-214380","参政帖","这件作品的书法笔力流畅，结构严谨，字体秀丽。文字中蕴含着米芾对皇帝的敬意和对宋朝文化的尊重。他运用了楷书和行书的特点，使得整件作品显得庄重而富有美感。\n\n米芾是宋代著名的书法家，他的作品擅长运用笔力和结构来表现书法的美感。在参政帖书法中，他运用了流畅的笔力和严谨的结构来描绘文字，使得整件作品显得庄重而有品位。同时，他还运用了秀丽的字体来表现文字的美感，使得这件作品充满生命力和真实感。",[7,86,178,263,173,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe208556c106dec4d231c4319420b8a.jpg","19.6x6.8",[328],{"id":5343,"slug":5344,"title":5345,"dynasty":18,"author":5346,"museum":311,"description":5347,"tags":5348,"thumbUrl":5349,"material":2164,"size":2165,"collection":139,"collections":5350,"showCount":5351,"zanCount":5,"manualWeight":48,"mainColor":94},288524,"xiao-xiang-qi-guan-tu-mi-you-ren-288524","潇湘奇观图","米友仁","《潇湘奇观图》用淋漓水墨画江上云山、云雾变幻的奇境，山峰、江水、树木并未作具体细致的描写，追求的是苍茫雨雾中自然界的特殊韵致。\n《潇湘奇观图》的画法用泼墨又参加积墨、破墨，使墨气淋漓，氤蕴浑厚。笔法甚少勾勒，而信笔横点，积点成山，藏锋其内，与墨浑然结合。树法似草，但与画面浑然一体。",[7,209,23,25,173,29,37,34,4970,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99980652bf55d8e34d046ae41cea3fe6.jpg",[],262,{"id":5353,"slug":5354,"title":5355,"dynasty":54,"author":485,"museum":20,"description":5356,"tags":5357,"thumbUrl":5358,"material":40,"size":5359,"collection":163,"collections":5360,"showCount":5351,"zanCount":1337,"manualWeight":48,"mainColor":94},239524,"yan-li-ben-bu-nian-tu-juan-yan-li-ben-239524","阎立本步辇图卷","这是一幅历史画。它反映唐代初年一个重大的历史事件。公元七世纪，地处我国西南的吐蕃（今西藏地区）开始强大兴盛，其三十二世赞普松赞干布是个“骁勇多英略”的领袖。贞观八年（634年），他遣使臣到长安（今陕西西安），向唐王朝求婚联姻，唐太宗李世民答应了他的请求，决定将宗室女文成公主许配给松赞干布。贞观十五年（641年）春天，松赞干布派相国禄东赞到长安来迎接文成公主，唐太宗李世民则派礼部尚书江夏王宗室李道宗陪同文成公主进吐蕃。文成公主除了带去很多中原地区的文化典籍外，随行的还有许多各种行业的工匠，对于促进吐蕃经济、文化的发展起到了重要的作用。此后很长一段时间里，唐王朝和吐蕃之间关系融洽，和睦相处。\n阎立本以此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[7,209,23,24,25,27,106,28,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[163,328],{"id":5362,"slug":5363,"title":2704,"dynasty":277,"author":2705,"museum":311,"description":2706,"tags":5364,"thumbUrl":5366,"material":2164,"size":2165,"collection":139,"collections":5367,"showCount":5351,"zanCount":2209,"manualWeight":48,"mainColor":94},231826,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231826",[7,23,24,225,28,27,106,59,436,65,263,402,5365],"花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3c759e4883325592f1223e2b185251.jpg",[],{"id":5369,"slug":5370,"title":5371,"dynasty":99,"author":5372,"museum":20,"description":5373,"tags":5374,"thumbUrl":5375,"material":88,"size":5376,"collection":90,"collections":5377,"showCount":5351,"zanCount":350,"manualWeight":48,"mainColor":49},219121,"yu-tang-zhi-lan-tu-sun-ke-hong-219121","玉堂芝兰图","孙克弘","图绘拳石之旁，玉兰、兰花竞相开放。花、石的技法均极工细，玉兰花用粉多次轻染分出浓淡，再用工笔勾勒烘托出花瓣的肥大白嫩。枝干双勾填色并施以皴擦，极富质感。山石的技法是先以淡墨勾出轮廓，然后用浓淡墨多次晕染，逐渐加深，直至显现出丰富的前后层次及石体的细腻。山石玲珑剔透而刚硬，玉兰和兰花​​​​​​​婀娜多姿而柔媚。本幅设色明丽清亮，层次细密，变化微妙，典雅端丽，属作者绘画山水之作品。",[7,23,24,225,28,27,83,371,406,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[90],{"id":5379,"slug":5380,"title":5381,"dynasty":189,"author":767,"museum":206,"description":5382,"tags":5383,"thumbUrl":5385,"material":123,"size":5386,"collection":181,"collections":5387,"showCount":5351,"zanCount":2209,"manualWeight":48,"mainColor":49},218657,"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[7,23,24,225,173,177,29,734,1365,5384,34,176,468],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[181],{"id":5389,"slug":5390,"title":1462,"dynasty":99,"author":5391,"museum":1098,"description":5392,"tags":5393,"thumbUrl":5394,"material":409,"size":5395,"collection":181,"collections":5396,"showCount":5351,"zanCount":48,"manualWeight":48,"mainColor":94},214298,"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[7,23,24,25,173,177,29,34,176,37,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[181],{"id":5398,"slug":5399,"title":5400,"dynasty":5401,"author":278,"museum":311,"description":5402,"tags":5403,"thumbUrl":5407,"material":5408,"size":5409,"collection":139,"collections":5410,"showCount":5411,"zanCount":2209,"manualWeight":48,"mainColor":49},214195,"xi-xia-song-yi-ming-214195","西狭颂","汉","西狭颂是一首古代汉语诗歌，作者不详。它出自《汉书·尚书志》的《尚书·颂词》一章。\n\n这首诗的前两句是：\n\n西狭有苍鹰，绝顶凌虚空。\n\n西狭是古代中国的一个地名，意思是西偏远的地方。苍鹰是一种高傲的猛禽，它们会在最高的山峰上俯瞰下面的景色。这两句诗的意思是，西狭有苍鹰飞翔，它们在最高的山峰上俯瞰下面的景色，象征着西狭是一个神秘而高贵的地方。\n\n整首诗的内容是对西狭这个地方的赞颂，认为西狭有着自然的美景、深远的历史和传奇的人文。它还描述了西狭的自然风光，如高山、河流、草原和森林。诗人用热情的语言描绘了西狭的美景，并赞美西狭的历史文化。\n\n整首诗的语言流畅，描写生动，是一首典型的古代赞颂诗。",[7,5404,86,5405,620,5406],"汉代","隶书","石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eb94abf532cb1e9624a0ca02a3f241.jpg","纸本,水墨,拓本","315x225",[],260,{"id":5413,"slug":5414,"title":5415,"dynasty":18,"author":676,"museum":311,"description":3276,"tags":5416,"thumbUrl":5417,"material":139,"size":139,"collection":139,"collections":5418,"showCount":5419,"zanCount":1104,"manualWeight":48,"mainColor":94},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[7,23,209,24,25,244,27,106,150,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":5421,"slug":5422,"title":5423,"dynasty":18,"author":461,"museum":206,"description":5424,"tags":5425,"thumbUrl":5426,"material":67,"size":5427,"collection":42,"collections":5428,"showCount":5419,"zanCount":48,"manualWeight":48,"mainColor":49},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[7,209,23,24,225,177,173,29,734,1775,865,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[42,181,163],{"id":5430,"slug":5431,"title":5432,"dynasty":949,"author":950,"museum":3946,"description":5433,"tags":5434,"thumbUrl":5436,"material":139,"size":139,"collection":139,"collections":5437,"showCount":5438,"zanCount":48,"manualWeight":48,"mainColor":94},220592,"yi-pan-ying-tao-qi-bai-shi-220592","一盘樱桃","以大写意之笔将寻常鲜果绘就满幅生机。朱砂点染樱桃，颗颗圆润饱满，色泽浓艳透亮，仿佛带着刚摘下的清甜鲜活，攒簇盈盘，尽显丰实意趣。墨笔勾勒案几枝桠，笔法老辣简劲，浓淡相宜，与朱红鲜果撞出强烈视觉张力，素净留白更衬果色鲜亮。散落的两枚樱桃添得灵动野趣，毫无刻意雕琢之感。整画删繁就简，将日常烟火提炼成雅俗共赏的文人意趣，笔底藏着天真烂漫，于极简中见至味，把平淡日常晕染成动人的诗意图景。",[7,23,24,27,173,400,178,263,758,5435,228],"木盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":5440,"slug":5441,"title":5442,"dynasty":18,"author":3584,"museum":206,"description":5443,"tags":5444,"thumbUrl":5445,"material":123,"size":5446,"collection":44,"collections":5447,"showCount":5438,"zanCount":2209,"manualWeight":48,"mainColor":49},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[7,23,24,25,209,178,244,27,106,114,34,176,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[44],{"id":5449,"slug":5450,"title":5451,"dynasty":18,"author":418,"museum":5452,"description":5453,"tags":5454,"thumbUrl":5455,"material":573,"size":5456,"collection":42,"collections":5457,"showCount":5458,"zanCount":1337,"manualWeight":48,"mainColor":49},221335,"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[7,23,24,83,28,27,264,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[42,90,45],257,{"id":5460,"slug":5461,"title":5462,"dynasty":76,"author":5463,"museum":20,"description":5464,"tags":5465,"thumbUrl":5467,"material":88,"size":5468,"collection":90,"collections":5469,"showCount":5458,"zanCount":1104,"manualWeight":48,"mainColor":94},220380,"hong-lian-lv-zao-tu-tang-guang-220380","红莲绿藻图","唐炗","此图是唐炗（音光）与恽寿平联手为祝王翚40岁诞辰所作。唐炗绘荷花，恽寿平画荇藻。荷花与荇藻皆采用了没骨法，透露出轻盈飘逸与湿润的感觉。微风中，仿佛莲叶与荷花的清香淡淡而来。水塘里荇藻则用一笔点画。状物形神兼备，风格清新淡雅。",[7,23,24,225,28,27,83,136,137,5466],"绿藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce64fa92c044787704676762c01daae.jpg","纵135.7厘米，横59厘米",[90,45],{"id":5471,"slug":5472,"title":5473,"dynasty":204,"author":1733,"museum":447,"description":5474,"tags":5475,"thumbUrl":5477,"material":123,"size":139,"collection":44,"collections":5478,"showCount":5458,"zanCount":1104,"manualWeight":48,"mainColor":49},219500,"juan-xiu-tu-zhou-wen-ju-219500","倦绣图","此作用柔婉工笔铺陈深闺日常，床帏内仕女斜倚，眉宇间带着绣作之余的慵懒倦怠，身侧侍女静立侍奉。左侧侍者端物缓步而来，右侧仕女凭桌伫立，似在打理妆台。边角案几陈设着盆栽器物，衬出闺阁的雅致静谧。设色清淡古雅，线条匀细柔丽，将深阁女子闲散松弛的情态刻画入微，晕染出日常闺中休憩的幽柔氛围，藏着平淡雅致的闺中诗意。",[7,209,23,24,25,28,27,106,59,5476,284,1641,263],"床帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc8762f2527e714db62518fa3278003.jpg",[44,45],{"id":5480,"slug":5481,"title":5482,"dynasty":204,"author":2114,"museum":206,"description":5483,"tags":5484,"thumbUrl":5485,"material":123,"size":5486,"collection":90,"collections":5487,"showCount":5458,"zanCount":441,"manualWeight":48,"mainColor":94},218755,"shan-cha-tu-huang-quan-218755","山茶图","这幅画以丰富的色彩描绘了一朵退去的山茶花，花和叶子都用土金勾勒，丰富而美丽，是一场视觉盛宴。",[7,23,24,83,1352,28,27,1292,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b503e3c5d376270f52b0dba78e04e9.jpg","23.3x24.6厘米",[90],{"id":5489,"slug":5490,"title":5491,"dynasty":76,"author":5492,"museum":78,"description":5493,"tags":5494,"thumbUrl":5495,"material":1271,"size":5496,"collection":45,"collections":5497,"showCount":5498,"zanCount":1337,"manualWeight":48,"mainColor":49},223253,"he-hua-tu-zhou-pu-hua-223253","荷花图轴","蒲华","画荷叶枝，叶面宽阔，或像伞一样张开，或水面，微卷而翠绿； 花有三枝，两枝盛开，花瓣层层叠叠，另一枝含待放置的枝条，只露出尖尖的莲花。 朴华喜欢以水墨作画，与八大山人相似。",[7,23,24,225,173,400,83,136,137,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","146X80cm",[45],256,{"id":5500,"slug":5501,"title":5502,"dynasty":1483,"author":5503,"museum":20,"description":5504,"tags":5505,"thumbUrl":5506,"material":5507,"size":5508,"collection":328,"collections":5509,"showCount":5498,"zanCount":1104,"manualWeight":48,"mainColor":94},221021,"zhong-qiu-tie-wang-xian-zhi-221021","中秋帖","王献之","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[7,86,2570,25,173,699,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab6dd85baee9f73028d89815dd2fd5a.jpg","纸本，手卷","纵27厘米，横11.9厘米",[328],{"id":5511,"slug":5512,"title":1979,"dynasty":18,"author":461,"museum":206,"description":5513,"tags":5514,"thumbUrl":5515,"material":67,"size":139,"collection":42,"collections":5516,"showCount":5498,"zanCount":2209,"manualWeight":48,"mainColor":49},218922,"han-jiang-du-diao-tu-fan-kuan-218922","枯树虬枝如铁，在寒风中伸展筋骨，枝桠间似凝着霜雪的清冷。江面浩渺无垠，水波敛去喧嚣，只留一片沉静褐调，将天地空旷铺展到极致。孤舟一叶，钓者独倚，身影与舟楫融入江天，仿佛与自然达成无声默契。笔触简练却含深意，线条勾勒景物骨韵，色调晕染冬日萧寒。没有繁复铺陈，仅以极简元素，便营造出“天地一孤舟”的寂寥与超脱——那是文人心中对宁静的向往，是喧嚣外的片刻澄明，千年后仍能让观者触摸到穿透时光的静谧安然。",[7,23,173,1352,29,174,1542,866,177,3019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ef92a86d76f6756a5cc670fe8e2a88.jpg",[42],{"id":5518,"slug":5519,"title":5520,"dynasty":18,"author":461,"museum":5521,"description":4459,"tags":5522,"thumbUrl":5523,"material":527,"size":5524,"collection":42,"collections":5525,"showCount":5526,"zanCount":2209,"manualWeight":48,"mainColor":49},221415,"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆",[7,23,24,225,27,177,29,403,60,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","193.1x74.4 厘米",[42,181,45],255,{"id":5528,"slug":5529,"title":5530,"dynasty":76,"author":336,"museum":20,"description":5531,"tags":5532,"thumbUrl":5536,"material":123,"size":5537,"collection":44,"collections":5538,"showCount":5539,"zanCount":1314,"manualWeight":48,"mainColor":49},215038,"ma-shu-tu-lang-shi-ning-215038","马术图","阿穆尔萨纳和先登上准噶尔汗国的达瓦齐因利益冲突而相互争斗，在他们失败后，阿穆尔萨纳要求加入清廷并拜访乾隆皇帝。乾隆皇帝对阿穆尔萨纳主动加入清朝感到欣喜若狂。阿穆尔萨纳投奔清廷后，康熙皇帝非常高兴，他对准噶尔帝国的内部情况有了更多的了解，并有信心利用准噶尔帝国的动乱完成其祖父康熙皇帝和父亲雍正皇帝的 未竟之业。考虑到阿姆尔-萨纳还没有感染水痘，在寒冷的冬季，听众在夏宫举行。",[7,209,23,27,106,150,5533,266,3112,5534,5535],"马术","郊野","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5d061082897e962ce93759d1385c0.jpg","223.4x426.2",[44],254,{"id":5541,"slug":5542,"title":5543,"dynasty":99,"author":397,"museum":20,"description":5544,"tags":5545,"thumbUrl":5547,"material":1488,"size":5548,"collection":181,"collections":5549,"showCount":5550,"zanCount":1104,"manualWeight":48,"mainColor":94},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[7,23,24,25,173,401,1647,86,83,402,406,226,407,227,229,84,5546,606,176],"竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[181,163],253,{"id":5552,"slug":5553,"title":5554,"dynasty":54,"author":55,"museum":206,"description":5555,"tags":5556,"thumbUrl":5559,"material":123,"size":5560,"collection":44,"collections":5561,"showCount":5562,"zanCount":1009,"manualWeight":48,"mainColor":49},218265,"ren-wu-juan-zhou-fang-218265","人物卷","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[7,23,209,24,25,28,27,106,808,34,298,5557,5558,228],"小孩","大人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[44],252,{"id":5564,"slug":5565,"title":5566,"dynasty":189,"author":767,"museum":311,"description":5567,"tags":5568,"thumbUrl":5570,"material":2164,"size":2165,"collection":139,"collections":5571,"showCount":5572,"zanCount":48,"manualWeight":48,"mainColor":49},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[7,209,23,173,29,225,177,176,34,107,108,109,175,263,86,5569],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":5574,"slug":5575,"title":5576,"dynasty":54,"author":2644,"museum":311,"description":5577,"tags":5578,"thumbUrl":5579,"material":2164,"size":2165,"collection":139,"collections":5580,"showCount":5581,"zanCount":1104,"manualWeight":48,"mainColor":49},289005,"wang-chuan-tu-wang-wei-289005","辋川图","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[7,209,23,25,1218,27,177,29,107,34,31,174,4969,1646,4970,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":5583,"slug":5584,"title":309,"dynasty":76,"author":5585,"museum":20,"description":5586,"tags":5587,"thumbUrl":5589,"material":527,"size":5590,"collection":139,"collections":5591,"showCount":5581,"zanCount":1337,"manualWeight":48,"mainColor":94},222643,"he-hua-tu-gao-feng-han-222643","高凤翰","图绘荷塘秋色，荷花于秋风中若俯若仰，似显似藏。荷叶或以浓墨泼染，以示勃勃生机，或以赭色晕染，以示萧索凋败。全图在墨彩交融中表现了满池风动、“接天莲叶无穷碧”的意境。作者以洒脱不羁的笔墨抒发了豪放的情怀。",[7,23,24,225,173,400,136,137,5588,2310],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe153b110743b11a6b88ea2620ed2d20a.jpg","纵172厘米，横62厘米",[],{"id":5593,"slug":5594,"title":2016,"dynasty":189,"author":190,"museum":20,"description":5595,"tags":5596,"thumbUrl":5597,"material":699,"size":2021,"collection":181,"collections":5598,"showCount":5581,"zanCount":48,"manualWeight":48,"mainColor":94},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[7,23,24,25,173,29,177,86,263,734,1775,865,558,3024,1267,3620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg",[181,163],{"id":5600,"slug":5601,"title":5602,"dynasty":18,"author":1721,"museum":206,"description":2378,"tags":5603,"thumbUrl":2382,"material":123,"size":5605,"collection":42,"collections":5606,"showCount":5581,"zanCount":1104,"manualWeight":48,"mainColor":94},220176,"xing-hua-tu-zhao-chang-220176","杏花图",[7,209,23,24,5604,27,28,83,2380,658,263],"团扇","纵25.2厘米，横27.3厘米",[42,90],{"id":5608,"slug":5609,"title":5610,"dynasty":189,"author":1442,"museum":101,"description":5611,"tags":5612,"thumbUrl":5615,"material":409,"size":5616,"collection":181,"collections":5617,"showCount":5618,"zanCount":1337,"manualWeight":48,"mainColor":94},220052,"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[7,209,23,24,225,173,177,5613,34,176,175,4064,229,5614],"秋林","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[181],249,{"id":5620,"slug":5621,"title":1732,"dynasty":99,"author":936,"museum":20,"description":5622,"tags":5623,"thumbUrl":5624,"material":123,"size":5625,"collection":44,"collections":5626,"showCount":5618,"zanCount":1337,"manualWeight":48,"mainColor":49},219628,"shi-nv-tu-chen-hong-shou-219628","陈洪绶（1599~1652），明末清初著名书画家、诗人。字章侯，幼名莲子，一名胥岸，号老莲，晚号老迟、悔迟，又号悔僧、云门僧。\n他的作品荒诞而深情，鲁迅先生对之极为推崇，认为“老莲的画，一代绝作”。\n陈洪绶是明代著名的人物画家，他在人物画中对女性形象有着独特的关注视点，在造型方面追 求高古奇骇的古拙之美，在色墨运用上崇尚淡彩的雅丽之美。\n他笔下的女性人物形象既具备了明清 时期女性纤弱清秀的时代气质，又通过“诗画相生”的艺术表达体现出中国文人画家的精神特质， 对后世女性人物形象塑造，乃至人物画的发展都产生了深刻影响。",[7,23,28,27,106,59,229,402,63,65,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[44,45],{"id":5628,"slug":5629,"title":5630,"dynasty":99,"author":2494,"museum":20,"description":5631,"tags":5632,"thumbUrl":5634,"material":3713,"size":5635,"collection":181,"collections":5636,"showCount":5637,"zanCount":48,"manualWeight":48,"mainColor":94},220909,"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[7,209,23,24,81,173,177,29,734,384,37,558,5633],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纵26.3厘米，横25.5厘米",[181,163],248,{"id":5639,"slug":5640,"title":5641,"dynasty":99,"author":170,"museum":20,"description":1595,"tags":5642,"thumbUrl":1597,"material":699,"size":527,"collection":181,"collections":5643,"showCount":5637,"zanCount":2209,"manualWeight":48,"mainColor":94},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[7,23,24,25,29,2352,173,27,177,178,86,176,34,109,108,174,175],[181],{"id":5645,"slug":5646,"title":5647,"dynasty":99,"author":2494,"museum":447,"description":5648,"tags":5649,"thumbUrl":5651,"material":409,"size":5652,"collection":181,"collections":5653,"showCount":5637,"zanCount":48,"manualWeight":48,"mainColor":94},219732,"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","以淡墨晕染层叠山峦，留白铺就出空寂清灵的幽远氛围。近景苍松虬曲古拙，扎根嶙峋怪石，枝干舒展自带灵动生机。中景幽谷藏村居，流泉蜿蜒穿林而过，山林郁秀空灵。\n\n以干笔皴擦勾勒山石肌理，淡墨晕出山岚氤氲，笔墨简淡却意蕴悠长，尽显文人画萧散简远之趣。题诗与画面浑然相融，诗画一体，寄寓着林泉高致的隐逸情怀，整体格调清润雅致，将笔墨意趣与山水意境相融，尽显通透疏朗的超然意态，是文人山水的绝佳范本。",[7,23,24,173,177,225,29,734,385,403,384,5650],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[181,163],{"id":5655,"slug":5656,"title":5657,"dynasty":99,"author":2494,"museum":206,"description":5658,"tags":5659,"thumbUrl":5660,"material":1691,"size":5661,"collection":181,"collections":5662,"showCount":5663,"zanCount":1104,"manualWeight":48,"mainColor":94},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[7,209,23,24,225,173,177,105,2352,29,34,176,35,31,1265,3710,865,1365,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","96.3 x 44.8cm",[181,163],246,{"id":5665,"slug":5666,"title":5667,"dynasty":189,"author":1539,"museum":78,"description":5668,"tags":5669,"thumbUrl":5670,"material":173,"size":139,"collection":163,"collections":5671,"showCount":5663,"zanCount":1104,"manualWeight":48,"mainColor":49},219738,"zhu-pu-tu-wu-zhen-219738","竹谱图","此作用淡墨铺就底色，开篇幽草伴湖石，渐入修竹成林。竹竿劲挺如君子立世，以浓墨撇写竹叶，错落生姿，或迎风欹斜，或垂梢含露，墨色干湿浓淡交织，层次分明。后半段湖石渐耸，竹影疏密掩映，尽显野逸之趣。\n\n左侧题笔与画境相融，以书入画，笔墨老辣苍润，将隐逸林下的清寂意韵藏于一笔一划中，简淡之间尽是萧散出尘的林下风神，把竹之孤高与文人风骨晕染在卷幅里。",[7,23,173,25,226,385,177,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c704a7c558d314bd1858ec21db613.jpg",[163],{"id":5673,"slug":5674,"title":1066,"dynasty":18,"author":2483,"museum":206,"description":5675,"tags":5676,"thumbUrl":5677,"material":123,"size":5678,"collection":181,"collections":5679,"showCount":5680,"zanCount":1009,"manualWeight":48,"mainColor":49},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[7,23,24,25,26,27,29,106,107,34,266,176,557,38,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[181],244,{"id":5682,"slug":5683,"title":5684,"dynasty":99,"author":1014,"museum":20,"description":5685,"tags":5686,"thumbUrl":5687,"material":123,"size":5688,"collection":181,"collections":5689,"showCount":5680,"zanCount":1104,"manualWeight":48,"mainColor":49},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[7,23,209,24,225,27,177,29,106,1365,176,770,4272,109,175,469,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[181],{"id":5691,"slug":5692,"title":5693,"dynasty":18,"author":553,"museum":78,"description":5694,"tags":5695,"thumbUrl":5697,"material":327,"size":5698,"collection":181,"collections":5699,"showCount":5700,"zanCount":1337,"manualWeight":48,"mainColor":49},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[7,209,23,24,225,173,177,29,558,34,1265,5696],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 横53.6cm",[181,42],243,{"id":5702,"slug":5703,"title":5704,"dynasty":18,"author":1419,"museum":206,"description":5705,"tags":5706,"thumbUrl":5707,"material":327,"size":5708,"collection":44,"collections":5709,"showCount":5700,"zanCount":48,"manualWeight":48,"mainColor":49},219606,"cheng-long-tu-ma-yuan-219606","乘龙图","本幅画中人物为一老者，其鼻长，面相上谓为老龙相，此与马远时之皇帝宁宗，其面相之特征亦为老龙像。故宫所藏〈宁宗像〉，亦足证名此项面貌特征。按《庄子•天地》篇：「千岁厌世，去而上仙，彼乘白云，至于帝乡。」又《史记•封禅书》：「黄帝采首山铜，铸鼎于荆山下；鼎既成，有龙垂胡髯下迎黄帝，黄帝上骑，群臣后宫从上者七十余人，龙乃上去；余小臣不得上，乃悉持峦龙髯，龙髯拔坠，堕黄帝之弓，百官始仰望，黄帝既上天，乃抱其弓与胡髯号。」故后世皇帝死升天，上天乘龙。皇帝死曰「宾天」，宋代皇室信仰道教，作此图画是可从此道理连想。",[7,23,24,225,244,106,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da643835190212f952accdd55118302.jpg","本幅 108.1x52.6公分、全幅 54公分",[44],{"id":5711,"slug":5712,"title":5713,"dynasty":54,"author":5714,"museum":20,"description":5715,"tags":5716,"thumbUrl":5717,"material":3071,"size":5718,"collection":328,"collections":5719,"showCount":5720,"zanCount":2209,"manualWeight":48,"mainColor":94},239553,"wang-xi-zhi-lan-ting-xu-juan-chuan-tang-chu-sui-liang-mo-ben-chu-sui-liang-239553","王羲之兰亭序卷（传唐褚遂良摹本）","褚遂良","东晋永和九年（353年）三月三日，山阴名士四十一人集于兰亭，修禊祭，宴曲水。即席赋诗，汇为一卷，由王羲之当场作序。这篇序情文并茂，心手双畅，向称“天下第一行书”。其妍美流便的风神，被后世视为行书的典范和楷模。唐太宗李世民酷爱羲之书法，在得到《兰亭序》真迹后，曾命当朝书法名家褚遂良、欧阳询以及弘文馆拓书人冯承素等勾摹数本，分赐臣下，以广布扬。兰亭真迹据记载已随唐太宗殉葬昭陵。这些唐摹本主要有两个系统，一为褚遂良摹本，存世的褚遂良、虞世南、冯承素等墨迹摹本，多属此系统，以冯摹的“神龙本”最为接近原作；一为欧阳询摹本，刻帖“定武本”即源自欧本，为存世最佳的石刻帖本。\n此卷旧传为褚遂良所摹，故卷前项元汴标题“褚摹王羲之兰亭帖”，简称为“褚摹兰亭”，实未必确切。全卷有宋、元、明诸家题跋或观款，以及鉴藏印记215方，又半印4方。其中“滕中”等2方北宋印和南宋绍兴内府“绍兴”、“内府印”、“睿思东阁”等7方印属真，第一后纸上米芾诗题及7方钤印亦真。因知此卷当为北宋米芾前临摹本。但作品质地属楮皮纸，是宋以后方普遍使用的纸质，或可证此为北宋摹本。全卷由两幅纸拼接，前纸19行，后纸9行，行款排列较松匀，以临写为主，辅以勾描，因此书写较为流畅，亦具一定功力。\n此卷流传鉴藏经过大致为：北宋滕中、南宋绍兴内府、元赵孟頫、明浦江郑氏、项元汴、清卞永誉、乾隆内府。曾著录于清顾复《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、清内府《石渠宝笈·续编》、阮元《石渠随笔》等书，并刻入《兰亭八柱帖》。",[7,24,25,105,178,263,86,622,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231a989ca4ec3e5d71859f048f630428.jpg","纵24厘米，横88.5厘米",[328],242,{"id":5722,"slug":5723,"title":5724,"dynasty":99,"author":2146,"museum":222,"description":5725,"tags":5726,"thumbUrl":5729,"material":1271,"size":5730,"collection":181,"collections":5731,"showCount":5720,"zanCount":1104,"manualWeight":48,"mainColor":49},222352,"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[7,23,25,27,29,177,28,5727,5728,174,109,175,34,176,35],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","23.7＊352cm",[181,45],{"id":5733,"slug":5734,"title":5735,"dynasty":18,"author":2039,"museum":20,"description":5736,"tags":5737,"thumbUrl":5740,"material":40,"size":5741,"collection":139,"collections":5742,"showCount":5720,"zanCount":1009,"manualWeight":48,"mainColor":49},221491,"huo-lang-tu-quan-juan-li-song-221491","货郎图全卷","古吴轩出版社主编的《李嵩货郎图》是《历代名画宣纸高清大图》系列之一，采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负地弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。\n画家借助货郎这一题材表现了南宋市井生活的一个侧面，是民俗学家不可多得的珍贵史料。",[7,209,23,24,25,28,244,27,106,4304,5738,5739,300,34,3900,61,263],"妇女","货担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff486169f4887c2ad43e56c3c00718926.jpg","纵25.5厘米，横70.4厘米",[],{"id":5744,"slug":5745,"title":5746,"dynasty":949,"author":3807,"museum":1941,"description":5747,"tags":5748,"thumbUrl":5749,"material":139,"size":139,"collection":139,"collections":5750,"showCount":5720,"zanCount":48,"manualWeight":48,"mainColor":94},220545,"xu-bei-hong-hua-ma-tu-zhou-xu-bei-hong-220545","徐悲鸿画马图轴","以淋漓水墨写就奔马，浓淡晕染间，骏马肌肉的起伏张力尽显。昂首扬鬃，四蹄腾跃似踏风而来，马尾与颈鬃以狂放飞白扫出，裹挟着呼啸劲风，将奔马桀骜不羁的野性全然挥洒而出。\n\n舍弃繁复布景，将视线尽数锁于奔马之上，寥寥数笔便让马儿挣脱纸面桎梏，静帧画作仿若能闻蹄声惊雷，把中式写意传神的特质推至极致，尽显生命蓬勃昂扬的野性力量。",[7,209,23,24,225,173,150,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f81de666dcbcb1927f785be1e3e6f3.jpg",[],{"id":5752,"slug":5753,"title":5754,"dynasty":18,"author":3884,"museum":206,"description":5755,"tags":5756,"thumbUrl":5757,"material":123,"size":5758,"collection":42,"collections":5759,"showCount":5720,"zanCount":1337,"manualWeight":48,"mainColor":49},219216,"zhu-ou-tu-cui-bai-219216","竹鸥图","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[7,23,83,27,28,226,1194,558,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","101.3x49.9cm",[42,90,45],{"id":5761,"slug":5762,"title":5763,"dynasty":18,"author":278,"museum":206,"description":5764,"tags":5765,"thumbUrl":5768,"material":5769,"size":5770,"collection":139,"collections":5771,"showCount":5772,"zanCount":1314,"manualWeight":48,"mainColor":629},223425,"song-ren-xi-mao-tu-zhou-yi-ming-223425","宋人戏猫图轴","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[7,209,23,225,27,28,807,808,84,384,5766,228,5767],"家具","鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef8f54780c0c3ec5ce4fde928d99fc.jpg","轴 绢本","139.8x100.1cm",[],241,{"id":5774,"slug":5775,"title":5776,"dynasty":99,"author":100,"museum":311,"description":5777,"tags":5778,"thumbUrl":5786,"material":139,"size":139,"collection":139,"collections":5787,"showCount":5788,"zanCount":1314,"manualWeight":48,"mainColor":49},228453,"qing-ming-shang-he-tu-shou-juan-han-yin-shou-ti-ba-chou-ying-228453","清明上河图手卷含引首题跋","此作以精工院笔重绘旧题，将晚明江南的升平烟火铺陈于长卷之内。青绿设色妍雅清丽，线条秀劲灵动，亭台楼阁层叠错落，商铺酒肆鳞次栉比，行人车马往来穿梭，贩夫走卒、文人仕女神态各异，鲜活复刻出南都的富庶风华。它既承袭古本骨架，又暗合明代世情，把市肆喧闹、舟桥津渡的俗世温情藏进每一处细节，工致的笔触晕染出江南独有的雅致与鲜活，让观者如穿行旧巷，尽览晚明的人间盛景。",[7,209,23,25,5779,28,5780,104,107,1087,110,1970,5781,5782,116,113,106,5783,5784,5785],"手卷","青绿设色","舟桥","津渡","市井生活","富庶风华","俗世温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc788a28a455ea93496704656398401.jpg",[],240,{"id":5790,"slug":5791,"title":5792,"dynasty":18,"author":5793,"museum":206,"description":5794,"tags":5795,"thumbUrl":5796,"material":712,"size":5797,"collection":139,"collections":5798,"showCount":5788,"zanCount":1314,"manualWeight":48,"mainColor":94},221608,"po-mo-xian-ren-tu-juan-liang-kai-221608","泼墨仙人图卷","梁楷","《泼墨仙人图》可以说是梁楷与画院画风决绝后,在绘画创作中自辟蹊径、独树一帜的具体体现。画面除面、胸部用细笔勾出轮廓外,其他皆用巨笔阔笔横扫,每一笔既有墨色的酣畅,又有水分的淋漓,十分纵肆狂放,已达到旁若无人的程度。从人物造型来看,作者有意夸张其头额部分,几乎占去整个头的三分之二,而把五官挤在下部很小的面积上,垂眉、细眼,鼻扁而大,嘴角下垂,既显得醉态可掬,却又诙谐滑稽,令人发笑,以生动的形象表现了作者的思想和生活态度,极尽嬉笑怒骂之态,从而体现了作品的思想深度。应该说梁楷画的不是“仙人”,而是他自己。",[7,23,24,173,2568,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da57b80a95a59b5229a6aa6845663ed.jpg","48×27公分",[],{"id":5800,"slug":5801,"title":5802,"dynasty":18,"author":1699,"museum":5803,"description":5804,"tags":5805,"thumbUrl":5806,"material":123,"size":5807,"collection":44,"collections":5808,"showCount":5788,"zanCount":1314,"manualWeight":48,"mainColor":49},218667,"gong-nv-tu-liu-song-nian-218667","宫女图","日本东京国立博物馆","画面铺展雅致静谧的宋式日常，几位宫女衣袂轻扬，或持物相待，或静立侧畔，神情温婉如春水。浴盆中孩童戏水喧闹，稚态可掬，与身旁娴静形成生动对照。背景苍劲的绿植与古朴小桌相映，笔墨细腻处见衣纹流转，设色淡雅间显器物温润。整幅画以细腻笔触捕捉宫廷生活的温情片刻，既藏宋画的精致风骨，又含人间烟火的柔软，似将千年的静谧与鲜活，凝于这一方绢素之上。",[7,209,23,24,1352,27,28,106,59,229,228,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8003e2340ab08b6d3bbb4b0c835b26ac.jpg","24.4x25.8",[44],{"id":5810,"slug":5811,"title":5812,"dynasty":76,"author":5813,"museum":206,"description":5814,"tags":5815,"thumbUrl":5818,"material":123,"size":5819,"collection":44,"collections":5820,"showCount":5788,"zanCount":350,"manualWeight":48,"mainColor":94},215148,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-215148","仿杨大章宋院本金陵图卷","冯宁","长卷是一幅色彩斑斓的画，画中有山有城，有街有路，有车有马，有亭有村，有农业，有数百人。这个场景有一丝张择端《清明上河图》的宏大和活泼的风格。卷尾的签名是：乾隆五十年十一月，我冯宁受命仿制宋院体金陵画。",[7,209,23,25,27,28,105,29,107,106,194,4230,5816,34,120,5817],"马匹","农业","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa95f5753c7200f69180a52966afeeee4.jpg","35x1050",[44],{"id":5822,"slug":5823,"title":5824,"dynasty":76,"author":3676,"museum":206,"description":5825,"tags":5826,"thumbUrl":5827,"material":409,"size":5828,"collection":328,"collections":5829,"showCount":5788,"zanCount":1337,"manualWeight":48,"mainColor":94},214200,"shi-gu-zhong-tang-wu-chang-shuo-214200","石鼓中堂","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。",[7,86,1163,178,225,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27cb1550e1e5adda3feedc0573082333.jpg","134.8x39.6",[328],{"id":5831,"slug":5832,"title":5833,"dynasty":99,"author":2242,"museum":20,"description":5834,"tags":5835,"thumbUrl":5836,"material":1488,"size":5837,"collection":90,"collections":5838,"showCount":5839,"zanCount":48,"manualWeight":48,"mainColor":94},222553,"mu-dan-hua-hui-tu-chen-chun-222553","牡丹花卉图","本幅上部行草书自题：“春是花时节，红紫各自赋。勿言薄脂粉，适足表贞素。道復。”后钤“陈道復氏”、“陈淳之印”印。\n作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n陈道復创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如故宫博物院藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及上海博物馆藏《洛阳春色图卷》、《玉楼春色图卷》等等。这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家李日华为此幅作品所题云：“破一滴墨水，作种种妖妍。改旦暮之观，备四时之气”。",[7,23,24,173,83,369,607,178,263,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ca64f679df2ecd19978f86c81b89a.jpg","纵54.8厘米，横30.8厘米",[90,45],239,{"id":5841,"slug":5842,"title":5843,"dynasty":18,"author":2297,"museum":1666,"description":2298,"tags":5844,"thumbUrl":5845,"material":573,"size":2301,"collection":139,"collections":5846,"showCount":5839,"zanCount":1314,"manualWeight":48,"mainColor":49},221595,"hong-bai-fu-rong-tu-er-li-di-221595","红白芙蓉图（二）",[7,23,209,24,28,27,83,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25dc107fa4494ca042034f992513016.jpg",[],{"id":5848,"slug":5849,"title":5850,"dynasty":189,"author":1442,"museum":206,"description":5851,"tags":5852,"thumbUrl":5853,"material":173,"size":139,"collection":181,"collections":5854,"showCount":5839,"zanCount":48,"manualWeight":48,"mainColor":94},218823,"qiu-lin-yuan-shan-tu-ni-zan-218823","秋林远山图","疏木萧疏，枝桠挺劲如铁，带着秋的清寒。远山淡抹，似笼轻烟，与空阔的水面相映成趣。笔墨枯淡却含韵致，枯笔皴擦见骨力，淡墨晕染显空灵。留白处意蕴悠长，仿佛天地间只剩风声掠过林梢，尘俗尽散。画面极简却藏深致，将文人的孤高与对自然的静观融入丘壑，清冷中透着宁静，空寂里含着哲思，恰是元人山水那份超脱尘世的清逸之境。",[7,23,24,173,177,29,866,1423,1265,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f642f6154c24c8d6629652c8982480.jpg",[181],{"id":5856,"slug":5857,"title":5858,"dynasty":18,"author":1721,"museum":20,"description":5859,"tags":5860,"thumbUrl":5861,"material":5862,"size":5863,"collection":42,"collections":5864,"showCount":5865,"zanCount":1337,"manualWeight":48,"mainColor":94},221297,"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[7,23,24,25,28,27,3295,386,284,512,84,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[42,90,45],238,{"id":5867,"slug":5868,"title":5869,"dynasty":18,"author":1677,"museum":206,"description":5870,"tags":5871,"thumbUrl":5872,"material":139,"size":139,"collection":42,"collections":5873,"showCount":5865,"zanCount":2209,"manualWeight":48,"mainColor":49},221186,"shi-liu-wen-niao-ma-lin-221186","石榴文鸟","马麟马世荣之孙，马远之子，马远是宋光宗、宋宁宗两朝画院待诏，马麟画承家学， 用笔圆劲，轩昂洒落，画风秀润处过于乃父。 ​",[7,23,24,28,27,83,1153,266,926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg",[42,90,45],{"id":5875,"slug":5876,"title":5877,"dynasty":18,"author":5878,"museum":206,"description":5879,"tags":5880,"thumbUrl":5881,"material":67,"size":5882,"collection":42,"collections":5883,"showCount":5884,"zanCount":1104,"manualWeight":48,"mainColor":49},221355,"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","苏汉臣","该画作描绘了在秋天的一富家庭院里，姐弟俩正围着螺钿漆墩玩着自制的小玩具的情景。急躁的小弟弟全神贯注，衣领滑下了肩，显示出他顽皮、好动的外向性格；细心的姐姐耐心地照看着小弟弟，她性情沉静温和。两个孩子玩得着了迷，似乎忘记了刚才发生的一切。在他们身后的另一张螺钿漆墩上，杂乱地摆放着其他玩具，可能刚才他们曾在花丛边追打嬉闹过。 [2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[7,23,209,24,225,28,27,106,4304,229,404,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[42,90,44,45],237,{"id":5886,"slug":5887,"title":5888,"dynasty":189,"author":190,"museum":20,"description":5889,"tags":5890,"thumbUrl":5892,"material":67,"size":5893,"collection":181,"collections":5894,"showCount":5884,"zanCount":1337,"manualWeight":48,"mainColor":49},220764,"tian-chi-shi-bi-tu-huang-gong-wang-220764","天池石壁图","此图描绘的是苏州城西吴县境内天池山的景色。天池山与灵岩山、天平山一脉相连，峰巅矗立巨石，远望巧若莲花，人称“华山”。山一侧的半山坳中长年积有一泓碧水，名曰“天池”，故山之这一面亦被称为“天池山”。\n画面兼用高远和深远的构图方法。近景丘陵溪涧，长松茂树。山径迂曲，通向主峰。画面正中层峦叠嶂，天池居于右上，两侧石壁对峙，池中水阁数椽。主峰两侧烟云流润，使画面虚实相生。\n此幅构图繁复，高坡陡崖错落分布，雄秀多姿。画家状物之笔虽较简略，杂树多用横点，山石作披麻皴，但线条却显得自然流畅，起落有序；笔法朴厚苍润，变化多端。设色采用“浅绛法”，多用淡赭，并以墨青、墨绿合染，冷暖互补，极佳地表现出山色的青葱与阳光的和煦。正如清吴修所云：“赭色微黄画里春，墨青墨绿染精神。”\n黄公望擅长的“浅绛法”在中国古代山水画的发展中具有重要地位，此图即其典范作品。另，本幅柳贯长题中称黄公望为“吴兴室内大弟子”，说明黄公望曾就学于赵孟頫，这是画史研究中的重要资料。",[7,177,173,27,29,557,5891,1082,468,558,384,175],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","纵139.4厘米，横57.3厘米",[181,163],{"id":5896,"slug":5897,"title":5898,"dynasty":18,"author":1395,"museum":206,"description":5899,"tags":5900,"thumbUrl":5901,"material":327,"size":5902,"collection":42,"collections":5903,"showCount":5884,"zanCount":1314,"manualWeight":48,"mainColor":49},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[7,23,209,25,173,177,86,263,29,108,109,174,1542,866,867,770,176,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[42],{"id":5905,"slug":5906,"title":5907,"dynasty":76,"author":4406,"museum":78,"description":5908,"tags":5909,"thumbUrl":5910,"material":88,"size":5911,"collection":181,"collections":5912,"showCount":5884,"zanCount":2209,"manualWeight":48,"mainColor":94},216993,"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[7,23,26,27,29,177,105,81,108,109,175,384,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[181],{"id":5914,"slug":5915,"title":5916,"dynasty":76,"author":1744,"museum":311,"description":2695,"tags":5917,"thumbUrl":5918,"material":712,"size":139,"collection":90,"collections":5919,"showCount":5920,"zanCount":1314,"manualWeight":48,"mainColor":94},223300,"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1",[7,23,24,225,173,226,385,406,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg",[90,163],236,{"id":5922,"slug":5923,"title":5924,"dynasty":18,"author":5925,"museum":206,"description":5926,"tags":5927,"thumbUrl":5928,"material":123,"size":5929,"collection":90,"collections":5930,"showCount":5920,"zanCount":5,"manualWeight":48,"mainColor":94},215112,"xie-sheng-ying-su-tu-ai-xuan-215112","写生罂粟图","艾宣","此册共二十六开，包含许多精采的宋元册页。各别的作品曾经过南宋内府、十四世纪安徽收藏家吴志淳、十五世纪黔宁王沐璘、十七世纪山东收藏家张笃行等人收藏过。裱装形式上，除了少数有对题者，左边空白对幅皆以明代流行的金粟山藏经纸裱装之，并有风格统一的题签。配合裱纸上梁清标（一六二○－一六九一） 的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[7,209,23,24,1352,28,27,83,4022,84,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[90],{"id":5932,"slug":5933,"title":5934,"dynasty":18,"author":1137,"museum":206,"description":5935,"tags":5936,"thumbUrl":5938,"material":123,"size":5939,"collection":90,"collections":5940,"showCount":5941,"zanCount":2209,"manualWeight":48,"mainColor":94},218939,"xie-sheng-yu-zan-tu-lin-chun-218939","写生玉簪图","这幅画描绘了玉针花站在一个妃子身上，其香味吸引了蝴蝶飞来飞去。花和蝴蝶都是先用细墨线勾勒，然后上色的。白色的花瓣和绿色的叶子使芬芳的花朵更加美丽。在左下角的叶子下面可以看到林椿的签名。",[7,23,209,1352,28,27,1904,83,5937,512],"玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbcbd3282deb21b8a8f4f226720bde.jpg","23.6x24.6",[90],235,{"id":5943,"slug":5944,"title":1238,"dynasty":76,"author":77,"museum":311,"description":5945,"tags":5946,"thumbUrl":5947,"material":139,"size":139,"collection":139,"collections":5948,"showCount":5949,"zanCount":1104,"manualWeight":48,"mainColor":49},230251,"mu-dan-tu-yun-shou-ping-230251","此作用没骨法写就，以色代线，晕染出牡丹娇柔丰腴之态。白粉牡丹瓣层轻叠，莹润如凝脂；朱砂秾艳不俗，紫花幽柔淡雅，色彩过渡自然清妍，不见勾勒却形神兼备。枝叶以深浅草绿斡染，俯仰顾盼间尽显舒展生机，古拙顽石衬于花下，旁缀幽兰数茎，添清寂古雅之趣。\n\n右上题诗与花木相映，将富贵之态融入澹逸文气，以秀雅之笔消解艳俗，淡而不薄，丽而不妖，把写生之功与文人意趣相融，尽显春日花盛的清和雅致。",[7,23,24,225,27,83,369,512,229,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bcececee698ff8393e54eef5a76e67.jpg",[],234,{"id":5951,"slug":5952,"title":5953,"dynasty":18,"author":553,"museum":5954,"description":5955,"tags":5956,"thumbUrl":5958,"material":123,"size":5959,"collection":181,"collections":5960,"showCount":5949,"zanCount":2209,"manualWeight":48,"mainColor":49},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[7,23,24,29,173,177,225,176,34,35,109,1265,5957],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[181],{"id":5962,"slug":5963,"title":5964,"dynasty":189,"author":767,"museum":206,"description":5965,"tags":5966,"thumbUrl":5968,"material":88,"size":5969,"collection":181,"collections":5970,"showCount":5949,"zanCount":1337,"manualWeight":48,"mainColor":49},218134,"dong-shan-cao-tang-tu-wang-meng-218134","东山草堂图","此幅系王蒙三十六岁（1343年）作。隔水茅堂，背山重叠，磊石、布屋、开湖，形制皆偏向于方。通幅用笔，皆切实而稳厚。树干钩藤，山间苔点，极细微处，均无轻纵之笔，别有一种稳重苍郁意象。后人中如沈周，得力于此者甚多。",[7,23,173,29,177,176,34,3341,114,5967,468],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8557e18d738285b863560f57991f9e.jpg","111.4x61cm",[181],{"id":5972,"slug":5973,"title":5974,"dynasty":76,"author":77,"museum":583,"description":2193,"tags":5975,"thumbUrl":5976,"material":27,"size":5977,"collection":90,"collections":5978,"showCount":5979,"zanCount":1104,"manualWeight":48,"mainColor":94},220987,"ou-xiang-guan-xie-yi-ce-lu-xie-yun-shou-ping-220987","瓯香馆写意册-芦蟹",[7,209,23,24,81,400,173,3899,4152,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7632b42ef28d0c95b7691b56f54951.jpg","31.8x37.2厘米",[90,163],233,{"id":5981,"slug":5982,"title":5983,"dynasty":76,"author":803,"museum":20,"description":5984,"tags":5985,"thumbUrl":5988,"material":88,"size":139,"collection":90,"collections":5989,"showCount":5979,"zanCount":1314,"manualWeight":48,"mainColor":94},219292,"bo-luo-ju-xie-ye-ren-yi-219292","菠萝菊蟹页","画面以菠萝为底，菊丛旁逸，蟹螯张弛，茶壶静卧，四物相映成趣。红蟹墨螯，笔触劲挺如蟹螯探物；菠萝鳞甲层叠，墨色浓淡间见肌理之趣；蓝菊翠叶，水色晕染似含秋露；深褐茶壶，朴拙造型衬出雅致清欢。笔墨兼具工写，红与蓝撞色鲜活，墨与彩交融和谐。寻常蔬果水族，经笔底点染，既有文人画的逸趣，又含市井生活的鲜活，尽显海派画风的灵动与包容，仿佛一帧秋日常景，藏着岁月的温润与生机。",[7,23,27,83,400,81,5986,407,5987,228],"菠萝","蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0150d4cb986e4079fb87d6e7b65100b.jpg",[90],{"id":5991,"slug":5992,"title":5993,"dynasty":99,"author":278,"museum":101,"description":5994,"tags":5995,"thumbUrl":5996,"material":123,"size":5997,"collection":44,"collections":5998,"showCount":5979,"zanCount":1337,"manualWeight":48,"mainColor":49},218402,"song-zi-guan-yin-tu-yi-ming-218402","送子观音图","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[7,939,23,24,225,243,28,27,106,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d664823f52846dd02b7281134809d0.jpg","120.7x60.3",[44],{"id":6000,"slug":6001,"title":6002,"dynasty":18,"author":1395,"museum":206,"description":6003,"tags":6004,"thumbUrl":6006,"material":67,"size":6007,"collection":42,"collections":6008,"showCount":6009,"zanCount":1337,"manualWeight":48,"mainColor":49},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[7,23,209,25,29,177,27,176,34,6005,109,466,118,1265,1617,38],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[42,181,163],232,{"id":6011,"slug":6012,"title":6013,"dynasty":76,"author":963,"museum":20,"description":6014,"tags":6015,"thumbUrl":6016,"material":699,"size":6017,"collection":90,"collections":6018,"showCount":6009,"zanCount":2209,"manualWeight":48,"mainColor":94},220392,"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[7,23,24,25,173,177,86,263,402,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纵34.2厘米，横194.4厘米",[90],{"id":6020,"slug":6021,"title":6022,"dynasty":99,"author":3869,"museum":132,"description":6023,"tags":6024,"thumbUrl":6026,"material":123,"size":6027,"collection":90,"collections":6028,"showCount":6009,"zanCount":1104,"manualWeight":48,"mainColor":49},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[7,209,23,24,225,28,27,67,939,83,1059,6025,3226,658],"白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[90],{"id":6030,"slug":6031,"title":6032,"dynasty":76,"author":6033,"museum":311,"description":6034,"tags":6035,"thumbUrl":6036,"material":2164,"size":2165,"collection":139,"collections":6037,"showCount":6038,"zanCount":48,"manualWeight":48,"mainColor":94},290079,"fang-gu-zhu-zi-tu-wei-gen-lao-ren-290079","仿古竹子图","味根老人","此幅墨竹取斜出之势排布，数竿修竹错落揖让，气韵连贯。老干以重墨挥写，圆劲苍厚，尽显风霜沉凝的古意；新篁以淡墨勾皴，清润秀挺，带着稚拙生机。竹叶以大写意撇捺而就，聚散疏密暗藏章法，浓淡墨色铺陈出前后层次，虚实相映间，将劲节疏朗的君子风姿尽皆展现。画面留白宽绰，右侧题字与竹影相映成趣，笔致简淡却意韵悠长，尽显文人寄情于物的清雅襟怀，是颇见功底的水墨写意佳品。",[7,23,24,225,173,226,2497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c6c0d8c8cc882f3d24cc4d9f64fbba.jpg",[],231,{"id":6040,"slug":6041,"title":6042,"dynasty":76,"author":3676,"museum":311,"description":4387,"tags":6043,"thumbUrl":6044,"material":527,"size":6045,"collection":90,"collections":6046,"showCount":6038,"zanCount":1104,"manualWeight":48,"mainColor":94},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[7,23,24,225,173,27,83,136,137,400,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[90,45],{"id":6048,"slug":6049,"title":6050,"dynasty":99,"author":2146,"museum":447,"description":6051,"tags":6052,"thumbUrl":6053,"material":123,"size":6054,"collection":44,"collections":6055,"showCount":6038,"zanCount":972,"manualWeight":48,"mainColor":49},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[7,23,209,225,27,28,106,59,384,84,228,63,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[44],{"id":6057,"slug":6058,"title":6059,"dynasty":99,"author":2242,"museum":20,"description":6060,"tags":6061,"thumbUrl":6063,"material":409,"size":6064,"collection":90,"collections":6065,"showCount":6038,"zanCount":1337,"manualWeight":48,"mainColor":94},214639,"kui-shi-tu-chen-chun-214639","葵石图","一根秋葵枝条靠外，有一朵花和几片叶子，简单清爽；根部被杂草和嫩竹包围，参差不齐，稀稀拉拉；背景是海石，起伏不定，皱巴巴的。这幅画卷的构图和形状非常特别。在这幅画中，水墨画与诗词、书法与绘画的结合，充分表现了鳌鱼石的魅力和意境，使之成为生活中的佳作。",[7,23,24,225,173,400,83,229,6062,263,178],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c64a9381dbae4deff621b5fbbf49d.jpg","68.6x34",[90],{"id":6067,"slug":6068,"title":6069,"dynasty":54,"author":6070,"museum":20,"description":6071,"tags":6072,"thumbUrl":6073,"material":139,"size":6074,"collection":328,"collections":6075,"showCount":6076,"zanCount":2209,"manualWeight":48,"mainColor":94},221089,"mo-lan-ting-xu-juan-yu-shi-nan-221089","《摹兰亭序卷》","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[7,86,178,105,25,263,24,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9000c4d4ad5ddc233e1f2a03ab38558.jpg","纵24.8cm，横57.7cm",[328,2097],230,{"id":6078,"slug":6079,"title":6080,"dynasty":189,"author":645,"museum":1666,"description":6081,"tags":6082,"thumbUrl":6083,"material":699,"size":6084,"collection":328,"collections":6085,"showCount":6076,"zanCount":1104,"manualWeight":48,"mainColor":94},220858,"xuan-miao-guan-chong-xiu-san-men-ji-zhao-meng-fu-220858","玄妙观重修三门记","《玄妙观重修三门记》是元代书法家赵孟頫创作的一幅书法作品。纸本现收藏于日本东京国立博物馆，以之为底本的石刻位于苏州玄妙观正山门内。\n该书法作品的文章由宋末元初文人牟巘撰写，记载了苏州玄妙观重新修缮殿门一事。原稿用墨略淡，墨色清醇沉润，笔面间偶露行草笔致。\n玄妙观是位于苏州古城内繁华地带的一座道教宫观，原名三清观，在元朝受到皇家敕命更名并赐御笔匾额，观内道士为了隆重庆祝这一盛事，决定对观内殿宇进行重新修缮，可是由于筹集的经费不足，三道已经破败不堪的殿门却再也无力整修。经过道士严焕文等人一番努力，并得到夫人胡氏妙能的倾力捐助，终于在至元二十九年（1292）动工修缮。既然这一盛事有此波折，观内道士决定在观内树立石碑以纪念，遂邀请当时的文人牟巘为之撰文，又邀请当朝书画家赵孟頫亲笔书写碑文并篆额。这纸法帖，就是当年为了勒摹上石所写的底本。\n此书显露出来的赵字用笔风格，与《妙严寺记》《胆巴碑》等如出一辙。赵字的用笔，一方面恪守中锋、顺势的原则，一方面又杂糅行书的笔法，从而形成了或藏锋痕迹含蓄，或露锋意味明朗的风格。既不同于魏晋、南北朝书法的工整、严谨，也不同于唐楷的法度森严与精雕细琢。从单个字的处理来看，线与线之间的顾盼承接，空间与空间的虚实对比，无不包含着一种内在的力量和如涓涓细流永无休止之势，同时，也反映出作者对线条娴熟的驾驭能力，如“臣”字，其中虽少一笔，但从中可以看出作者在势的处理上一笔到底的那种按捺不住的律动。\n此书结字方正，左右、上下之间的呼应紧密，字形大小因其自然而由之，布白在匀称之中却又能够表现虚实之间的和谐相处。有些字分别添加、减省笔画，或者变形书写。添加笔画的有“鸿、建、象、氏、民、旧、陟、土”等字。如“旧”字应当是王羲之、王献之该字写法的杂糅与合成，字形取势则模仿了李邕的写法，即将字底“臼”字作“旧”形，藏在右下角落里。减省笔画的有“摹、念、矗、曾、飙、层、度、远、罗、宪、严”等字，有些是合理运用异体字，有些则为其独创。笔画变位或变形书写的有“悉、旧、几、受、化”等字，大多是唐楷已有之。\n明·陈继儒：“鉴赏家谓玄妙观碑酷似李北海《岳麓碑》，若见苏灵芝《铁佛寺刻》，弥见松雪翁书学来历。此卷精彩可照四裔。”（卷后跋文）\n明·李日华：“《玄妙观重修三门记》有太和（李邕）之朗，而无其佻；有季海（徐浩）之重，而无其一钝；不用平原（颜真卿）面目，而含其精神。天下赵碑第一也。”（《恬致堂集》）\n赵孟頫亲笔所书纸本早已散失异域，藏于日本东京国立博物馆。所刻之碑原在玄妙观正山门内，“文革”时失落。1990年，苏州碑刻博物馆仿刻成碑，现存正山门内。\n卷文:天地阖辟，运乎鸿枢，而乾坤为之户；日月出入，经乎黄道，而卯酉为之门。是故建设琳宫，摹宪玄象，外则周垣之联属，灵星之横陈；内则重闼之划开，阊阖之仿佛。非崇严无以备制度，非巨丽无以竦视瞻。惟是勾吴之邦，玄妙之观，赐额改矣，广殿新矣，而三门甚陋。万目所观，辟之于人，神观不足，一身之内，强弱弗侔，非欠欤？观之徒严焕文深念前功，是图是究。\n时则有夫人胡氏妙能，捐其簪珥，给其资用。爰壬辰之纪，岁亟先甲以庀徒。曾几何时，悉更其旧。翚飞丹栱，檐牙高矗于层霄；兽啮铜环，铺首辉煌于朝日。大庭中敞，峻殿周罗，可以树羽节，可以容鸾驭；可以陟三成之坛，通九关之奏；可以鸣千石之虡，受百灵之朝。气象伟然，始与殿称矣。\n于是吴兴赵孟頫复求记于陵阳牟巘。土木云乎哉，言语云乎哉。惟帝降衷，惟皇建极，因人心固有，与天下为公，初无侧颇，无充塞然。或者舍近而求诸远，既昧厥元；欲入而闭之门，复迷所向。孰与抽关启钥，何异擿埴索涂。是未知玄之又玄，户之不户也。\n夫始乎冲漠者，造化之枢纽；极乎高明者，中庸之阃奥。盖所谓会归之极，所谓众妙之门。庸作铭诗，具刊乐石，其词曰：\n天之牗民，道若大路。未有出入，不由于户。而彼昧者，他岐是骛。如面墙壁，惟弗瞩故。脱扃剖鐍，孰发真悟。乃崇珍馆，乃延飙驭。閈闳洞启，端倪呈露。四达民迷，有赫临顾。咨尔羽䙱，壹尔志虑。阴阖阳辟，恪守常度。\n集贤直学士朝列大夫行江浙等处儒学提举吴兴赵孟頫书并篆额",[7,86,621,243,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345465230873dfcb1eb56f5c18241795.jpg","纵35.8厘米，横283.8厘米",[328,2097],{"id":6087,"slug":6088,"title":6089,"dynasty":76,"author":4192,"museum":311,"description":6090,"tags":6091,"thumbUrl":6092,"material":1488,"size":6093,"collection":181,"collections":6094,"showCount":6095,"zanCount":1337,"manualWeight":48,"mainColor":94},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[7,209,23,24,25,173,177,29,734,385,384,2279,466,468,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[181,163],229,{"id":6097,"slug":6098,"title":6099,"dynasty":76,"author":1047,"museum":132,"description":1048,"tags":6100,"thumbUrl":6101,"material":409,"size":1051,"collection":139,"collections":6102,"showCount":6095,"zanCount":1104,"manualWeight":48,"mainColor":94},216909,"hua-niao-si-tiao-ping-4-zhu-da-216909","花鸟四条屏-4",[7,23,173,400,225,227,137,370,229,83,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e75a5ceb8b50523c17e63136acafff.jpg",[],{"id":6104,"slug":6105,"title":6106,"dynasty":76,"author":963,"museum":311,"description":6107,"tags":6108,"thumbUrl":6109,"material":139,"size":139,"collection":139,"collections":6110,"showCount":6111,"zanCount":1009,"manualWeight":48,"mainColor":94},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[7,23,24,25,173,400,177,178,86,263,29,557,31,34,229,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],228,{"id":6113,"slug":6114,"title":4458,"dynasty":18,"author":278,"museum":132,"description":6115,"tags":6116,"thumbUrl":6117,"material":88,"size":139,"collection":181,"collections":6118,"showCount":6111,"zanCount":1314,"manualWeight":48,"mainColor":94},217118,"xue-jing-shan-shui-tu-yi-ming-217118","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[7,23,24,209,1004,173,177,29,2019,1365,734,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[181],{"id":6120,"slug":6121,"title":6122,"dynasty":189,"author":645,"museum":20,"description":6123,"tags":6124,"thumbUrl":6125,"material":6126,"size":6127,"collection":44,"collections":6128,"showCount":6129,"zanCount":1009,"manualWeight":48,"mainColor":94},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[7,23,24,25,27,28,106,150,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 设色 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从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[7,23,28,27,104,29,107,176,37,34,108,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[181,45],{"id":6179,"slug":6180,"title":6181,"dynasty":18,"author":1677,"museum":6182,"description":6183,"tags":6184,"thumbUrl":6185,"material":123,"size":6186,"collection":90,"collections":6187,"showCount":6145,"zanCount":2209,"manualWeight":48,"mainColor":49},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[7,23,209,28,27,83,2053,402,384,370,1775,1231,451,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[90,45,42],{"id":6189,"slug":6190,"title":6191,"dynasty":18,"author":6192,"museum":206,"description":6193,"tags":6194,"thumbUrl":6197,"material":123,"size":6198,"collection":42,"collections":6199,"showCount":6145,"zanCount":1009,"manualWeight":48,"mainColor":94},219214,"xue-jing-han-qin-tu-wang-ding-guo-219214","雪景寒禽图","王定国","王定国，（公元12世纪）〔南宋〕汴（今河南开封）人，生卒年不详。建炎元年（1127）随吴郡王渡江，居临安(今浙江杭州)。工花鸟，师李安忠，亦学崔白兄弟笔法，傅色轻淡，清雅不凡，人所不及。后吴郡王奏荐入仕，赐金紫。",[7,23,24,1352,27,28,83,2019,6195,759,6196],"寒禽","浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf83af5f258b7e3cf2ddcfd3f3c7dabe.jpg","纵24.3厘米，横26厘米",[42,90],{"id":6201,"slug":6202,"title":745,"dynasty":18,"author":746,"museum":206,"description":6203,"tags":6204,"thumbUrl":6205,"material":409,"size":6206,"collection":42,"collections":6207,"showCount":6145,"zanCount":2209,"manualWeight":48,"mainColor":94},218785,"mo-zhu-tu-su-shi-218785","画面以竹枝为墨，笔法浑厚，墨分五色；苏轼自称向文同学习画竹，而此图没有宋代的墨竹气息，想必是后期的成名之作。",[7,23,24,173,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f9b6809e9c8b462cdfb261eee443c8.jpg","31.5x27",[42],{"id":6209,"slug":6210,"title":6211,"dynasty":204,"author":6212,"museum":311,"description":6213,"tags":6214,"thumbUrl":6215,"material":2164,"size":2165,"collection":139,"collections":6216,"showCount":6217,"zanCount":48,"manualWeight":48,"mainColor":49},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[7,23,24,29,26,27,107,108,109,176,34,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],225,{"id":6219,"slug":6220,"title":6221,"dynasty":76,"author":3676,"museum":311,"description":3677,"tags":6222,"thumbUrl":6223,"material":841,"size":3680,"collection":90,"collections":6224,"showCount":6217,"zanCount":2209,"manualWeight":48,"mainColor":94},224231,"ju-hua-2-wu-chang-shuo-224231","菊花2",[7,23,24,209,225,27,173,400,692,176,658,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb43cd66a1da94239b42b0c422a249.jpg",[90,45],{"id":6226,"slug":6227,"title":6228,"dynasty":189,"author":1442,"museum":206,"description":6229,"tags":6230,"thumbUrl":6232,"material":699,"size":6233,"collection":181,"collections":6234,"showCount":6217,"zanCount":1337,"manualWeight":48,"mainColor":94},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[7,23,24,25,173,177,29,866,229,175,109,6231,263,86],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[181,163],{"id":6236,"slug":6237,"title":6238,"dynasty":18,"author":1793,"museum":206,"description":6239,"tags":6240,"thumbUrl":6241,"material":123,"size":6242,"collection":42,"collections":6243,"showCount":6217,"zanCount":1104,"manualWeight":48,"mainColor":49},218132,"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[7,23,24,29,177,173,174,109,176,34,1542,867,1423,866,2789],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[42,181],{"id":6245,"slug":6246,"title":6247,"dynasty":6248,"author":278,"museum":6249,"description":6250,"tags":6251,"thumbUrl":6256,"material":624,"size":6257,"collection":139,"collections":6258,"showCount":6217,"zanCount":2209,"manualWeight":48,"mainColor":629},214204,"guo-ji-zi-bai-pan-ming-wen-yi-ming-214204","虢季子白盘铭文","周","中国国家博物馆","铭文铸在郭记子白石板的底座上，共有八行，111个字。铭文讲述了虢国的子白奉命出征，战功赫赫，周王为他举行宴会，并赐予他弓马，以庆贺他的功绩，虢国子白因此制作此盘作为纪念。铭文语言简练、庄重，是金文中的书家法本。",[7,1163,620,86,6252,6253,6254,6255],"青铜器","铭文","西周","刻铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb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"description":6382,"tags":6383,"thumbUrl":6386,"material":123,"size":6387,"collection":181,"collections":6388,"showCount":6343,"zanCount":1337,"manualWeight":48,"mainColor":49},218963,"chun-shan-xing-lv-tu-li-zhao-dao-218963","春山行旅图","李昭道","这幅画描绘了唐明皇在前往四川寻求庇护以躲避安史之乱的途中放弃长安的场景。\n画面以绿色为主色调，有山有水，枝繁叶茂，春意盎然，二十多个人和十几匹马结伴而行，在蜿蜒而荒芜的道路上可以看到人影。虽然场景是春天，马儿在滚动，人们靠着树休息，看起来很轻松，但通往圣地的道路和沿途的崎岖转弯的气氛也会让人觉得很困难。\n该场景用细密的笔触勾勒出线条，然后用绿色和蓝色作画，使其优雅而美丽。",[7,23,24,26,27,29,106,107,176,34,1422,467,469,6384,6385],"云气","勾勒填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f5bf3ce17fdd366423076e69f86db4.jpg","95.5x55.3厘米",[181],{"id":6390,"slug":6391,"title":6392,"dynasty":18,"author":6393,"museum":6394,"description":6395,"tags":6396,"thumbUrl":6398,"material":409,"size":6399,"collection":90,"collections":6400,"showCount":6343,"zanCount":1009,"manualWeight":48,"mainColor":94},218906,"bai-yan-tu-ma-ben-218906","百雁图","马贲","檀香山艺术博物馆","老愚离群影久孤，客来笑示百雁图。揩眵试数失两箇，莫喻画意翻令呼。得非长门报秋使，或是大窖传书奴。不然一举千里高鸿俱，其余淟泪碌琐徒，且唼且息翔且呼。营营郑圃田之稷，睢睢齐海隅之菰。遑知尔更衔尔芦，瓠肥卒至充人厨。小而曰鶀亦就笯，迩闻泽梁弛禁官罢虞，麋鹿鱼鳖同少苏，羽仪好在春云。河中马贲元佑、绍圣间人，长于百雁百鸦百鹿百牛等图，虽极繁伙而位置不乱。此卷尤为杰出也，可不宝哉！王逢并识。",[7,23,24,25,173,28,266,3899,6397],"群鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d77751cddde9611521a50fab81cbde3.jpg","579x45cm",[90],{"id":6402,"slug":6403,"title":6404,"dynasty":99,"author":170,"museum":311,"description":6405,"tags":6406,"thumbUrl":6407,"material":139,"size":139,"collection":139,"collections":6408,"showCount":6409,"zanCount":1337,"manualWeight":48,"mainColor":94},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[7,23,24,25,173,27,29,175,4272,384,109,263,86,178,35,176,1322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":6411,"slug":6412,"title":1889,"dynasty":189,"author":6413,"museum":20,"description":6414,"tags":6415,"thumbUrl":6416,"material":1271,"size":6417,"collection":163,"collections":6418,"showCount":6409,"zanCount":1104,"manualWeight":48,"mainColor":49},221692,"mo-zhu-po-shi-tu-gao-ke-gong-221692","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[7,23,209,24,225,173,226,229,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纵121.6厘米，横42.1厘米",[163,1896],{"id":6420,"slug":6421,"title":6422,"dynasty":18,"author":1677,"museum":20,"description":6423,"tags":6424,"thumbUrl":6425,"material":67,"size":6426,"collection":42,"collections":6427,"showCount":6409,"zanCount":1104,"manualWeight":48,"mainColor":94},221180,"ceng-die-bing-xiao-tu-zhou-ma-lin-221180","层叠冰绡图轴","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。\n在绢素上画疏枝绿萼白梅两枝，枝瘦花繁，一枝高昂扬起，伸至画面右中部，枝疏花密，花朵绽开；一枝低垂叶艳，由画幅右侧横出，伸展画幅中部与另一挺拔高枝相呼应。两枝枝干清瘦如铁。\n本幅款识：“臣马麟。”另有宋宁宗皇后杨氏题“层叠冰绡”，并题诗：“浑如冷蝶宿花房。拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。赐王提举：”钤“杨蛙之章”、“丙子刊宁翰墨”朱文。\n鉴藏印有：“项元汴印”朱文、“墨林山人”白文、“项氏子京”白文、“楠李项氏之家宝玩”朱文、“项墨林鉴赏章”白文、“项子京家珍藏”朱文、“墨林秘玩”朱文、“商丘宋荦审定真迹“朱文、“汝修”白文、”顾氏口阁珍藏”朱文、“典礼纪察司印”朱文半印，另一方印文不辨。\n地轴裱有题记：“嘉靖丙寅秋，用四十五金得于妻弟陆氏，共二幅，共直百金。顾从德记”“宋马麟《层叠冰绡图》。明项元汴清秘。用前价得藏于天籁阁”。钤“墨林山人”白文、“子京父印”朱文。裱边钤“教育部点验之章”朱文。",[7,23,24,225,28,27,402,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5f8ab1f8c9f8f0a1fb245c1b08d17.jpg","纵101.7cm，横49.6cm",[42,90,45],{"id":6429,"slug":6430,"title":6431,"dynasty":949,"author":3807,"museum":3808,"description":6432,"tags":6433,"thumbUrl":6435,"material":139,"size":139,"collection":139,"collections":6436,"showCount":6409,"zanCount":1104,"manualWeight":48,"mainColor":94},220526,"lan-mao-xu-bei-hong-220526","懒猫","明黄葵朵肆意盛放，苍劲枝叶舒展铺陈，将晴日生机晕染满幅。两只猫儿卧于石上，一猫懒腰哈欠，蓬松毛发纤毫毕现，娇憨慵懒之态跃然纸面；另一猫蜷身假寐，神态松弛安适。\n\n画作融西画写实与东方笔墨，以水墨晕染葵叶苍润质感，重彩点亮花瓣明妍鲜活，生灵造型精准生动，于日常闲景中，将繁花蓬勃与猫儿慵懒相映成趣，静动之间晕开松弛悠然的雅致意韵，尽显闲淡生机。",[7,23,24,27,173,400,6434,807,658,607],"向日葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56021136e3f49aa5e8fa268f00e74249.jpg",[],{"id":6438,"slug":6439,"title":6440,"dynasty":99,"author":100,"museum":447,"description":6441,"tags":6442,"thumbUrl":6443,"material":123,"size":6444,"collection":44,"collections":6445,"showCount":6409,"zanCount":1104,"manualWeight":48,"mainColor":49},219544,"xun-mei-tu-chou-ying-219544","寻梅图","仇英博取众长，多学于赵伯驹、刘松年，发展了南宋李唐、刘松年、马远、夏圭的'院体画'传统，集前人之大成，形成自己独特的艺术风格。他在山水、花卉、界画、人物、仕女等素材方面造诣极高，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为'明四家'。",[7,209,23,28,27,106,59,402,866,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaa20363f9665e27d71a3435ec5364b.jpg","102.7x50.7厘米",[44],{"id":6447,"slug":6448,"title":6449,"dynasty":204,"author":2585,"museum":206,"description":6450,"tags":6451,"thumbUrl":6452,"material":123,"size":6453,"collection":181,"collections":6454,"showCount":6409,"zanCount":1314,"manualWeight":48,"mainColor":49},218904,"xiao-yi-zhuan-lan-ting-tu-ju-ran-218904","萧翼赚兰亭图","这幅画描绘萧翼赚兰亭图的故事。唐太宗酷爱王羲之、王献之的书法，听说辩才和尚藏有羲之兰亭序真迹，于是派遣御史萧翼设法谋取。翼便以书生的打扮，先与辩才交游，两人常以诗文酬答，情感融洽，渐渐地，辩才对翼不加防备。有一天，趁辩才和尚外出，翼便偷走兰亭真迹",[7,23,225,173,177,29,34,108,109,558,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f67dfbeda3e115e84b0798018f410e.jpg","144.1x59.6",[181],{"id":6456,"slug":6457,"title":6458,"dynasty":76,"author":2924,"museum":311,"description":6459,"tags":6460,"thumbUrl":6462,"material":2164,"size":2165,"collection":139,"collections":6463,"showCount":6464,"zanCount":2209,"manualWeight":48,"mainColor":94},288453,"shui-xian-shan-shi-tu-ye-ju-lian-288453","水仙山石图页","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[7,23,24,27,28,83,405,229,6461,263,86],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":6466,"slug":6467,"title":6468,"dynasty":99,"author":170,"museum":311,"description":6469,"tags":6470,"thumbUrl":6471,"material":2164,"size":2165,"collection":139,"collections":6472,"showCount":6464,"zanCount":2209,"manualWeight":48,"mainColor":94},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[7,23,173,177,225,86,263,29,174,865,229,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],{"id":6474,"slug":6475,"title":6476,"dynasty":99,"author":2146,"museum":20,"description":6477,"tags":6478,"thumbUrl":6479,"material":841,"size":6480,"collection":181,"collections":6481,"showCount":6482,"zanCount":1337,"manualWeight":48,"mainColor":49},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[7,23,24,25,173,27,29,106,770,34,176,109,86,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[181,45],217,{"id":6484,"slug":6485,"title":6486,"dynasty":18,"author":3884,"museum":20,"description":6487,"tags":6488,"thumbUrl":6489,"material":40,"size":6490,"collection":42,"collections":6491,"showCount":6482,"zanCount":1009,"manualWeight":48,"mainColor":49},221445,"han-que-tu-juan-cui-bai-221445","寒雀图卷","本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。\n图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。\n作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。",[7,209,23,24,25,83,28,266,865,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c651618a9378a8dc159bf2a2ceb5781.jpg","纵25.5厘米，横101.4厘米",[42,90,45],{"id":6493,"slug":6494,"title":6495,"dynasty":18,"author":676,"museum":132,"description":6496,"tags":6497,"thumbUrl":6498,"material":327,"size":139,"collection":42,"collections":6499,"showCount":6482,"zanCount":2209,"manualWeight":48,"mainColor":49},218087,"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[7,23,24,81,244,173,243,106,229,1423,866,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg",[42,44],{"id":6501,"slug":6502,"title":6503,"dynasty":99,"author":6504,"museum":206,"description":6505,"tags":6506,"thumbUrl":6507,"material":123,"size":6508,"collection":90,"collections":6509,"showCount":6482,"zanCount":2209,"manualWeight":48,"mainColor":49},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[7,939,23,24,225,28,27,83,404,1194,1322,84,1628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[90],{"id":6511,"slug":6512,"title":6513,"dynasty":99,"author":5161,"museum":311,"description":6514,"tags":6515,"thumbUrl":6517,"material":2164,"size":2165,"collection":139,"collections":6518,"showCount":6519,"zanCount":350,"manualWeight":48,"mainColor":49},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[7,23,25,27,28,83,402,226,369,404,264,266,1628,84,6516],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":6521,"slug":6522,"title":6523,"dynasty":18,"author":1419,"museum":206,"description":6524,"tags":6525,"thumbUrl":6526,"material":123,"size":6527,"collection":181,"collections":6528,"showCount":6519,"zanCount":48,"manualWeight":48,"mainColor":49},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[7,23,24,225,173,27,177,226,106,29,263,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[181,44],{"id":6530,"slug":6531,"title":6532,"dynasty":54,"author":2644,"museum":1098,"description":6533,"tags":6534,"thumbUrl":6535,"material":123,"size":6536,"collection":181,"collections":6537,"showCount":6538,"zanCount":1337,"manualWeight":48,"mainColor":49},220072,"jian-ge-xue-zhan-tu-wang-wei-220072","剑阁雪栈图","此图栈道着墨不多，主要是表现剑阁山川，雪景布置，积雪盈道。倘若鉴定无误的话，此图应属现存最早的一幅反映古栈道题材的山水画了。当然，它也就是最早的一幅蜀山栈道图。",[7,23,24,29,225,27,177,734,558,384,1775,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f73cf8b8868701ceb5e30b67a1f890.jpg","187.0X96.2",[181],215,{"id":6540,"slug":6541,"title":6542,"dynasty":76,"author":803,"museum":20,"description":6543,"tags":6544,"thumbUrl":6546,"material":88,"size":6547,"collection":44,"collections":6548,"showCount":6538,"zanCount":1337,"manualWeight":48,"mainColor":94},219630,"su-wu-mu-yang-tu-ren-yi-219630","苏武牧羊图","在任颐众多的人物故事画中，“苏武牧羊”是他描绘较多的题材之一。《汉书·苏武传》中记载：苏武，字子卿，曾奉汉武帝命以中郎将身分出使匈奴，单于欲降苏武，苏武不屈，被留放北海(今贝尔加湖)长达19年，苏武“杖汉节牧羊，卧起操持，节旌尽落”，表现了强烈的爱国精神。作为出身于市民，又一度随太平军转战的任颐，面对加速殖民化的国土，深感“身居十里洋场，无异置身异域”，甚至寄希望于“草莽英雄”，正是这种思想驱使他在画中寄托忧患意识，歌颂高尚的爱国情操。图中苏武手持汉节，如坚石般站立于画面中心，双目望于画外，似在遥望汉国，目光坚定自信，表现了不屈的精神。\n画中人物造型比例准确，除保持了陈洪绶人物奇古伟岸的特征之外，还融汇了西洋画速写、素描的技法，线条凝练概括，具有力度，与主题相统一。色墨的渲染协调统一，尤其是羊群运用写意的手法，在黑、白、灰的墨色变化中准确地描绘出羊群的造型，同时也描绘出群羊因寒冷而挤作一团的情景，以此衬托出环境的恶劣，从而突出了人物不畏艰难险阻的刚毅气节。",[7,209,23,24,225,27,400,106,6545,808],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c2700d0183a4f433fabbc66c36e14d.jpg","纵149.5厘米，横81厘米",[44,45],{"id":6550,"slug":6551,"title":1108,"dynasty":18,"author":1109,"museum":311,"description":1110,"tags":6552,"thumbUrl":6558,"material":2164,"size":2165,"collection":139,"collections":6559,"showCount":6560,"zanCount":1337,"manualWeight":48,"mainColor":49},288520,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-288520",[7,23,209,24,25,2158,28,27,6553,106,1640,6554,6555,6556,6557,86,263],"夜宴","乐舞","听乐","观舞","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde43b93040d57e342c67c97ee8336009.jpg",[],214,{"id":6562,"slug":6563,"title":6564,"dynasty":54,"author":2644,"museum":132,"description":6565,"tags":6566,"thumbUrl":6567,"material":67,"size":6568,"collection":139,"collections":6569,"showCount":6560,"zanCount":48,"manualWeight":48,"mainColor":49},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[7,23,24,25,27,26,104,28,29,107,108,106,176,34,114,6384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],{"id":6571,"slug":6572,"title":6573,"dynasty":18,"author":418,"museum":5803,"description":6574,"tags":6575,"thumbUrl":6576,"material":123,"size":6577,"collection":90,"collections":6578,"showCount":6560,"zanCount":2209,"manualWeight":48,"mainColor":49},219138,"mei-que-tu-zhao-ji-219138","梅雀图","枝桠遒劲，凝着早春的清寒，几簇白梅点缀其间，花瓣薄如蝉翼，花蕊纤毫毕现，似有暗香浮动。一只麻雀敛翅而立，羽色层次分明，从褐棕的背羽到浅黄的腹羽，过渡细腻如天然；墨点的眼珠炯炯有神，喙尖微挑，仿佛正细嗅梅香。古雅的底色衬得生灵与花枝愈发鲜活，笔意工致却不刻板，枝桠的顿挫、羽毛的丝缕、花瓣的晕染，皆藏着对自然的敬畏与细腻感知。静穆中透着生机，仿佛能听见风过枝桠的轻响，看见雀儿转颈的灵动，将转瞬的雅致凝为永恒，尽显笔墨间的生趣与文人清逸。",[7,23,209,24,28,27,1352,83,402,4541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51843aee1c6bdffdd691d63bea2ddcbd.jpg","23.0×24.2cm",[90],{"id":6580,"slug":6581,"title":6582,"dynasty":76,"author":522,"museum":311,"description":6583,"tags":6584,"thumbUrl":6585,"material":88,"size":6586,"collection":44,"collections":6587,"showCount":6560,"zanCount":1337,"manualWeight":48,"mainColor":94},214670,"zhong-kui-tu-huang-shen-214670","钟馗图","这幅画描绘的是钟馗在吃石榴，而一个小孩子和他一起玩。这是黄慎委托的一幅吉祥画",[7,23,24,225,173,244,106,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6631ced5ea11c63e64cba3d283250e.jpg","149x110",[44],{"id":6589,"slug":6590,"title":6591,"dynasty":18,"author":746,"museum":311,"description":6592,"tags":6593,"thumbUrl":6594,"material":139,"size":139,"collection":139,"collections":6595,"showCount":6596,"zanCount":2209,"manualWeight":48,"mainColor":94},227505,"li-bai-xian-shi-juan-la-jian-su-shi-227505","李白仙诗卷蜡笺","《李白仙诗卷》蜡笺本。行书。纵：34.5厘米，横：106厘米 。日本大阪市立美术馆藏。\n\n此作书于元祐八年（1093）七月十日，苏轼五十八岁，是其重要的代表作之一。苏轼的很多作品因注重创造意识，透过它们强烈的艺术感染力，可以多少领会到作者的苦心孤诣，换句话说，是露出了刀劈斧凿之痕的。那线条的优雅，行气的从容，章法的疏密有致，给人一种精美绝伦之感。这当然是一种美，但这种美中的形式因素相对要多一些。试观此《李白仙诗卷》，却大有“粗服乱头”之感。",[7,24,86,178,25,1116,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6d975139a01fe3b63e08f3f1c34ac2.jpg",[],213,{"id":6598,"slug":6599,"title":6600,"dynasty":99,"author":2494,"museum":206,"description":6601,"tags":6602,"thumbUrl":6603,"material":699,"size":6604,"collection":181,"collections":6605,"showCount":6596,"zanCount":48,"manualWeight":48,"mainColor":94},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[7,209,23,24,225,173,29,105,177,178,263,229,34,735,31,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[181,163],{"id":6607,"slug":6608,"title":745,"dynasty":189,"author":1539,"museum":6182,"description":6609,"tags":6610,"thumbUrl":6611,"material":327,"size":6612,"collection":90,"collections":6613,"showCount":6596,"zanCount":1314,"manualWeight":48,"mainColor":94},216101,"mo-zhu-tu-wu-zhen-216101","这件作品是一幅描绘竹叶的图画，以其精细的绘画技巧和精美的艺术品质而闻名。墨竹图的名字来源于其使用的墨色，以及它描绘的竹子。墨竹图被认为是中国古代绘画艺术中最优秀的作品之一，并被许多人所珍视。",[7,23,24,1352,173,226,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b830328da9d88aa4e298e550fe00be.jpg","23.2x22.9cm",[90],{"id":6615,"slug":6616,"title":745,"dynasty":76,"author":1744,"museum":311,"description":6617,"tags":6618,"thumbUrl":6619,"material":139,"size":139,"collection":139,"collections":6620,"showCount":6621,"zanCount":2209,"manualWeight":48,"mainColor":255},230140,"mo-zhu-tu-zheng-ban-qiao-230140","修竹挺拔舒展，以浓淡墨色铺陈枝叶，虚实错落间尽显萧疏清劲，仿佛携着晚来林风，簌簌有声。画竹以书入笔，笔意兼具行书灵动与隶书沉厚，竹叶如“个”似“介”，爽利遒劲，将竹的孤傲磊落全然铺展。左侧题诗与墨竹相映成趣，诗画交融，以竹为寄，把超脱世俗的清介襟怀藏进笔墨。寥寥数笔便写尽竹之神韵，将文人逸致与君子品性合而为一，尽显文人画托物言志、诗画同源的绝妙意境。",[7,23,24,225,173,178,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f843406125e3d7d75445cdef2772a3.jpg",[],212,{"id":6623,"slug":6624,"title":6625,"dynasty":99,"author":170,"museum":311,"description":4110,"tags":6626,"thumbUrl":6628,"material":2164,"size":2165,"collection":139,"collections":6629,"showCount":6630,"zanCount":2209,"manualWeight":48,"mainColor":49},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷",[7,209,23,25,24,1218,173,27,177,557,1082,1269,4969,108,109,6627,116,178,86,263],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":6632,"slug":6633,"title":6634,"dynasty":76,"author":1047,"museum":78,"description":6635,"tags":6636,"thumbUrl":6637,"material":409,"size":6638,"collection":90,"collections":6639,"showCount":6630,"zanCount":48,"manualWeight":48,"mainColor":94},218898,"yu-ya-tu-juan-zhu-da-218898","鱼鸭图卷","朱耷，号八大山人。八大山人被人们所称道不仅是因为他是一个独具个性的画家，还因为坚守民族气节的品质。明末崇祯皇帝自缢时，八大山人已九岁，作为一个宗室后裔遭到国破家亡的命运，其悲痛可以想象的。他佯狂避世，杜绝交往，甘于贫困，沉溺于书画的创作中。他的作品独具一种“笔意纵恣”的画风。这件《鱼鸭图》是他晚年艺术创作成熟阶段的代表作品 。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[7,23,24,25,173,783,2175,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纵23.2厘米 横569.5厘米",[90],{"id":6641,"slug":6642,"title":6643,"dynasty":18,"author":3884,"museum":311,"description":6644,"tags":6645,"thumbUrl":6646,"material":2164,"size":2165,"collection":139,"collections":6647,"showCount":6648,"zanCount":2209,"manualWeight":48,"mainColor":49},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[7,209,23,225,28,27,266,2234,865,83,808,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg",[],210,{"id":6650,"slug":6651,"title":6652,"dynasty":54,"author":2644,"museum":677,"description":6653,"tags":6654,"thumbUrl":6655,"material":27,"size":139,"collection":44,"collections":6656,"showCount":6648,"zanCount":1337,"manualWeight":48,"mainColor":49},219167,"fu-sheng-shou-jing-tu-wang-wei-219167","伏生授经图","图中的伏生席地而坐，手持书卷，形象清矍苍老，似正在认真讲授。其神情专注而和蔼。从画中清晰可见伏生额头的皱纹与身体上极为松弛的皮肤，非常生动而且真实的描绘出了当时伏生的身体状况。通过画面中对伏生神态的描绘，可以想象，年老的伏生讲授《尚书》时的吃力。此图线描手法高超，敷色清雅。",[7,23,24,106,28,244,27,263,5153,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8701c647bf80d991a6ae005e685af840.jpg",[44],{"id":6658,"slug":6659,"title":6660,"dynasty":204,"author":1733,"museum":206,"description":6661,"tags":6662,"thumbUrl":6663,"material":123,"size":6664,"collection":44,"collections":6665,"showCount":6648,"zanCount":1104,"manualWeight":48,"mainColor":49},218748,"an-le-tu-zhou-wen-ju-218748","按乐图","这幅画描绘了一个有朱色栅栏的花园，花台上种着一棵香蕉，还有五个宫廷女乐师，两个人吹着竹笛和琵琶，一个人打着拍板，另外两个人拍着手掌，很和谐。这些人物身着双球，头发上插着半月形的角梳，每个人都有丰富的色彩。笔触如丝，色彩优雅明快，说明是南宋绘画大师所作。女士坐在朱漆的方凳上，藤椅的轮廓在两腿之间巧妙地形成了壶门的形状，腿和脚则是如意的形状。院子里的帐篷，有一根长长的横杆，两端都有灵芝花的装饰，上面挂着带有莲花图案的锦缎披风。",[7,23,1352,28,27,106,59,210,229,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0036a38b7087699df87e8643fee08137.jpg","23.5x24.9",[44],{"id":6667,"slug":6668,"title":6669,"dynasty":76,"author":1278,"museum":1279,"description":1280,"tags":6670,"thumbUrl":6671,"material":123,"size":1283,"collection":139,"collections":6672,"showCount":6648,"zanCount":2209,"manualWeight":48,"mainColor":49},214431,"xiu-yuan-tu-4-wang-yun-214431","休园图-4",[7,23,27,104,28,107,34,176,285,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a073b1ae9a5267aafce1e667ff03c94.jpg",[],{"id":6674,"slug":6675,"title":6676,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":6677,"thumbUrl":6680,"material":27,"size":1608,"collection":139,"collections":6681,"showCount":6682,"zanCount":48,"manualWeight":48,"mainColor":94},222729,"xian-e-chang-chun-tu-bai-he-hua-yu-chan-zhi-mu-dan-lang-shi-ning-222729","仙萼长春图百合花与缠枝牡丹",[7,209,23,24,28,27,83,989,6678,6679,759],"牡丹花","缠枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55f7cc59936a5a8c9fc4611e39f44d.jpg",[],209,{"id":6684,"slug":6685,"title":6686,"dynasty":99,"author":2494,"museum":132,"description":6687,"tags":6688,"thumbUrl":6689,"material":88,"size":139,"collection":181,"collections":6690,"showCount":6682,"zanCount":2209,"manualWeight":48,"mainColor":94},217035,"fang-gu-shan-shui-ce-liu-kai-dong-qi-chang-217035","仿古山水册六开","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[7,23,24,81,173,27,29,229,34,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c86fc6883114d3cb2271f4635b98dd.jpg",[181],{"id":6692,"slug":6693,"title":6694,"dynasty":99,"author":6695,"museum":206,"description":6696,"tags":6697,"thumbUrl":6698,"material":409,"size":6699,"collection":44,"collections":6700,"showCount":6682,"zanCount":1337,"manualWeight":48,"mainColor":94},214252,"luo-han-tu-li-yu-214252","罗汉图","李遹","罗汉图是明代画家李遹的一幅代表作。这幅画作描绘了罗汉的神圣形象。\n\n罗汉是佛教中的神，被认为是佛教徒的保护神。在这幅画作中，李遹巧妙地捕捉了罗汉的神圣形象。他用浓墨重彩的画法，勾勒出了罗汉的宏伟身形。他还用细腻的线条勾勒出了罗汉的面容，让人感受到了罗汉的慈祥和仁慈。\n\n此外，李遹在这幅画作中还描绘了罗汉周围的景色。他用色彩丰富的画法，描绘了罗汉周围的山川和河流。这些景色与罗汉的神圣形象形成了鲜明的对比，让人感受到了自然与神的和谐统一。\n\n总之，罗汉图是一幅精美的画作，描绘了罗汉的神圣形象。它让我们感受到了明代画家李遹对佛教的崇敬之情，也让我们感受到了明代文化的魅力。\n\n在这幅画作中，李遹运用了丰富的色彩和细腻的线条，将罗汉的神圣形象展现得淋漓尽致。他还用精美的画法描绘了罗汉周围的景色，让人感受到了自然与神的和谐统一。\n\n罗汉图是明代文化中的经典之作，也是李遹的代表作之一。它不仅展现了李遹的艺术才华，也是一幅能够唤起人们对佛教的崇敬之情的画作。",[7,23,24,243,244,173,106,433,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120eeb39e103b48205756344a5362f0a.jpg","56.6x32.6",[44],{"id":6702,"slug":6703,"title":1462,"dynasty":18,"author":1419,"museum":1666,"description":6704,"tags":6705,"thumbUrl":6706,"material":6707,"size":6708,"collection":42,"collections":6709,"showCount":6710,"zanCount":48,"manualWeight":48,"mainColor":49},221521,"shan-shui-tu-ma-yuan-221521","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[7,23,24,173,27,177,29,734,282,866,175,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[42,181,163],208,{"id":6712,"slug":6713,"title":6714,"dynasty":76,"author":336,"museum":20,"description":6715,"tags":6716,"thumbUrl":6717,"material":40,"size":6718,"collection":44,"collections":6719,"showCount":6720,"zanCount":2209,"manualWeight":48,"mainColor":6721},222796,"yong-zheng-chao-fu-xiang-zhou-lang-shi-ning-222796","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[7,27,28,106,433,63,65,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f084389b4a5403ca87fac736d099533.jpg","纵277厘米，横143厘米",[44,45],207,"FDD835",{"id":6723,"slug":6724,"title":6725,"dynasty":99,"author":278,"museum":2062,"description":6726,"tags":6727,"thumbUrl":6730,"material":538,"size":6731,"collection":139,"collections":6732,"showCount":6720,"zanCount":1104,"manualWeight":48,"mainColor":49},222144,"di-shi-tian-tu-dong-bi-yi-ming-222144","帝释天图东壁","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[7,538,23,243,28,27,106,245,6728,2159,6729],"神兽","华丽服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8069c6224709f156398f01bf2c3e79a0.jpg","高3.2米,长14米",[],{"id":6734,"slug":6735,"title":6736,"dynasty":18,"author":2039,"museum":311,"description":6737,"tags":6738,"thumbUrl":6740,"material":40,"size":1143,"collection":42,"collections":6741,"showCount":6720,"zanCount":1104,"manualWeight":48,"mainColor":49},221586,"guo-qin-tu-ye-li-song-221586","果禽图页","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[7,23,24,28,27,83,6739,759],"桃子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d0bec16d60826eb99359fe54491c93.jpg",[42,90,45],{"id":6743,"slug":6744,"title":6745,"dynasty":189,"author":645,"museum":206,"description":6746,"tags":6747,"thumbUrl":6748,"material":699,"size":6749,"collection":328,"collections":6750,"showCount":6720,"zanCount":1337,"manualWeight":48,"mainColor":94},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[7,209,23,24,25,178,244,173,27,106,29,174,109,285,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[328],{"id":6752,"slug":6753,"title":6754,"dynasty":949,"author":1940,"museum":1941,"description":6755,"tags":6756,"thumbUrl":6757,"material":139,"size":139,"collection":139,"collections":6758,"showCount":6720,"zanCount":1104,"manualWeight":48,"mainColor":94},220499,"zhang-da-qian-lin-mo-dun-huang-bi-hua-shi-jia-shuo-fa-tu-zhang-da-qian-220499","张大千临摹敦煌壁画释迦说法图","主尊释迦端立莲台，朱红袈裟线条劲挺饱满，晕染柔和自然，尽显慈悲庄严。胁侍眷属仪容秀雅，衣饰华丽繁复，璎珞飘带灵动舒展，各持礼器法物，神态虔敬肃穆。背景宝树垂饰精巧，华盖仪仗规整庄严，整体色彩浓丽明妍，还原敦煌盛唐遗韵。\n\n此作以精妙笔墨复刻石窟古画，既保留原作雄浑厚重的西域风貌，又融入细腻笔情墨趣，让千年壁画神采跃然绢上，尽显传统工笔重彩的典雅华滋，是临摹敦煌壁画中的精品。",[7,23,105,1945,538,243,27,106,1554,1555],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e6e538e6e12a841cd7a62f448f4e64.jpg",[],{"id":6760,"slug":6761,"title":6762,"dynasty":18,"author":708,"museum":206,"description":6763,"tags":6764,"thumbUrl":6765,"material":327,"size":6766,"collection":42,"collections":6767,"showCount":6720,"zanCount":2209,"manualWeight":48,"mainColor":49},218864,"xi-shan-gao-yi-tu-xia-gui-218864","溪山高逸图","山石以劲挺斧劈皴勾勒，棱角如剑刃划破烟岚，却含苍润之气。树木疏朗，枝干屈铁盘结，墨色浓淡相济，叶簇攒云般摇曳，似在风中低语清寂。构图于层峦间藏空灵：远山隐黛，近树扶疏，溪涧凉意从林木间隙渗出，未绘却已感知。\n\n整幅画以极简笔墨写尽“高逸”：无喧嚣，唯山风穿林轻响；无俗事，唯隐者静观天地。树后茅舍隐约，似有高士凭窗，将尘心托付烟霞，精神游弋林泉。苍劲中见温婉，疏淡里藏深情——恰如宋人对自然的敬畏，对自由的向往，尽在咫尺画卷间，让观者也随笔墨潜入山林，暂忘尘扰。",[7,23,29,177,173,225,866,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83a500324062626de8322a3fc16b72d.jpg","45.5x36.5厘米",[42,181],{"id":6769,"slug":6770,"title":6771,"dynasty":99,"author":936,"museum":6772,"description":6773,"tags":6774,"thumbUrl":6775,"material":123,"size":6776,"collection":44,"collections":6777,"showCount":6720,"zanCount":2209,"manualWeight":48,"mainColor":629},218407,"yin-cha-tu-chen-hong-shou-218407","饮茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[7,23,24,28,27,106,229,227,228,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[44],{"id":6779,"slug":6780,"title":6781,"dynasty":76,"author":803,"museum":1279,"description":6782,"tags":6783,"thumbUrl":6784,"material":88,"size":6785,"collection":44,"collections":6786,"showCount":6720,"zanCount":2209,"manualWeight":48,"mainColor":94},217065,"san-yang-kai-tai-tu-ren-yi-217065","三羊开泰图","这是一幅三羊开泰的画作，象征着三羊开泰 的含义。这幅画画在生纸上，是艺术的杰作，人物形象显著，有老莲的传承。三只羊的排列也很引人注目，黑羊只露出眼睛和两个长角，进一步显示了作者的创造性和天才。",[7,23,27,173,28,225,106,6545,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaf294ec271b5da04f59a3aa051ce5f.jpg","145x75",[44],{"id":6788,"slug":6789,"title":6790,"dynasty":99,"author":278,"museum":6182,"description":6791,"tags":6792,"thumbUrl":6794,"material":123,"size":139,"collection":90,"collections":6795,"showCount":6720,"zanCount":1314,"manualWeight":48,"mainColor":49},216906,"lian-chi-cang-lu-tu-yi-ming-216906","莲池苍鹭图","莲池苍鹭图是明朝时期的一幅著名图画，作者不详。这幅图画描绘了一个山间池塘，池塘中有许多莲花，并有一只苍鹭在池塘中游荡。图画中还有许多树木和山峰，构成了一幅优美的山水画。莲池苍鹭图被认为是明朝时期山水画的代表作之一，其中融合了中国传统的山水画风格和新兴的写意山水画风格，反映了明朝时期的艺术特点。",[7,23,27,28,225,83,136,137,6793,266],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[90],{"id":6797,"slug":6798,"title":6799,"dynasty":189,"author":645,"museum":20,"description":6800,"tags":6801,"thumbUrl":6802,"material":40,"size":6803,"collection":90,"collections":6804,"showCount":6805,"zanCount":1337,"manualWeight":48,"mainColor":49},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[7,23,24,25,27,28,178,86,150,106,384,5535,1003,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[90,45],206,{"id":6807,"slug":6808,"title":6809,"dynasty":99,"author":170,"museum":311,"description":4110,"tags":6810,"thumbUrl":6812,"material":2164,"size":2165,"collection":139,"collections":6813,"showCount":6814,"zanCount":1104,"manualWeight":48,"mainColor":255},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[7,209,23,24,25,173,27,29,770,226,34,176,108,175,178,263,6811],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":6816,"slug":6817,"title":6818,"dynasty":189,"author":645,"museum":20,"description":6819,"tags":6820,"thumbUrl":6821,"material":2465,"size":6822,"collection":163,"collections":6823,"showCount":6814,"zanCount":1337,"manualWeight":48,"mainColor":49},220869,"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[7,23,24,225,173,177,226,229,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","纵108.2厘米，横48.8厘米",[163,1896],{"id":6825,"slug":6826,"title":6827,"dynasty":76,"author":963,"museum":1098,"description":1099,"tags":6828,"thumbUrl":6830,"material":88,"size":139,"collection":90,"collections":6831,"showCount":6814,"zanCount":1337,"manualWeight":48,"mainColor":94},218126,"yu-xiang-jiao-ye-tu-shi-tao-218126","雨乡蕉叶图",[7,23,173,27,178,263,6829,928],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d80c7cb86c795587ab382481f9fcbed.jpg",[90],{"id":6833,"slug":6834,"title":6835,"dynasty":99,"author":100,"museum":20,"description":6836,"tags":6837,"thumbUrl":6839,"material":123,"size":6840,"collection":181,"collections":6841,"showCount":6814,"zanCount":1009,"manualWeight":48,"mainColor":94},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[7,23,25,24,28,26,27,106,29,34,113,6838,86,178],"职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[181,44],{"id":6843,"slug":6844,"title":6845,"dynasty":18,"author":746,"museum":311,"description":6846,"tags":6847,"thumbUrl":6848,"material":139,"size":139,"collection":139,"collections":6849,"showCount":6850,"zanCount":2209,"manualWeight":48,"mainColor":49},227548,"su-mi-he-bi-juan-su-shi-227548","苏米合壁卷","宋四家是中国北宋时期四位书法家苏轼、黄庭坚、米芾和蔡襄的合称。这四个人大致可以代表宋代的书法风格，而且成就最高，故称“宋四家”。\n\n明清以来，有一些人认为宋四家中的“蔡”原本应该是蔡京，后人不齿其为人，所以把蔡京换为蔡襄，并认为蔡襄的艺术成就在蔡京之上。",[7,209,23,24,25,178,173,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29cc290566e8c44a8299b10e7320bf6.jpg",[],204,{"id":6852,"slug":6853,"title":6854,"dynasty":99,"author":6855,"museum":20,"description":6856,"tags":6857,"thumbUrl":6858,"material":67,"size":6859,"collection":90,"collections":6860,"showCount":6850,"zanCount":2209,"manualWeight":48,"mainColor":49},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","汪中","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[7,23,24,225,82,27,83,229,84,512,696,606,759,1629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[90,45],{"id":6862,"slug":6863,"title":17,"dynasty":18,"author":6864,"museum":206,"description":6865,"tags":6866,"thumbUrl":6872,"material":67,"size":6873,"collection":42,"collections":6874,"showCount":6850,"zanCount":2209,"manualWeight":48,"mainColor":49},221618,"qian-li-jiang-shan-tu-juan-jiang-can-221618","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[7,209,23,25,173,29,6867,6868,6869,737,6870,475,108,175,194,106,6871],"群峰","江水","溪壑","农舍","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[42,181,45],{"id":6876,"slug":6877,"title":6878,"dynasty":18,"author":418,"museum":78,"description":6879,"tags":6880,"thumbUrl":6882,"material":699,"size":6883,"collection":42,"collections":6884,"showCount":6850,"zanCount":48,"manualWeight":48,"mainColor":49},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[7,209,23,24,25,28,27,1322,3268,3899,6881,4272,266,263],"大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[42,90,45],{"id":6886,"slug":6887,"title":1838,"dynasty":204,"author":1839,"museum":20,"description":1840,"tags":6888,"thumbUrl":6890,"material":67,"size":1845,"collection":181,"collections":6891,"showCount":6850,"zanCount":1337,"manualWeight":48,"mainColor":94},221155,"xiao-xiang-tu-dong-yuan-221155",[7,23,25,24,1218,173,27,177,29,1843,6889,1086,106,37,3320],"苇渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg",[181,163],{"id":6893,"slug":6894,"title":6895,"dynasty":99,"author":6896,"museum":132,"description":6897,"tags":6898,"thumbUrl":6899,"material":88,"size":6900,"collection":181,"collections":6901,"showCount":6850,"zanCount":1314,"manualWeight":48,"mainColor":49},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[7,23,27,29,28,177,734,282,384,175,174,1542,108,109,176,37,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[181,45],{"id":6903,"slug":6904,"title":6905,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":6906,"thumbUrl":6907,"material":2164,"size":2165,"collection":139,"collections":6908,"showCount":6909,"zanCount":48,"manualWeight":48,"mainColor":94},240255,"ba-da-shan-ren-xi-yuan-ya-ji-tu-ji-juan-zhu-da-240255","八大山人西园雅集图记卷",[7,23,24,25,86,178,173,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f9f166a40fcf4ec139f19c82aed61.jpg",[],203,{"id":6911,"slug":6912,"title":6913,"dynasty":76,"author":1744,"museum":56,"description":6914,"tags":6915,"thumbUrl":6916,"material":6917,"size":6918,"collection":90,"collections":6919,"showCount":6909,"zanCount":48,"manualWeight":48,"mainColor":94},223297,"you-lan-tu-zheng-ban-qiao-223297","幽兰图","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[7,23,173,400,178,406,226,229,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[90,163,328],{"id":6921,"slug":6922,"title":6923,"dynasty":99,"author":397,"museum":20,"description":6924,"tags":6925,"thumbUrl":6927,"material":699,"size":6928,"collection":44,"collections":6929,"showCount":6909,"zanCount":2209,"manualWeight":48,"mainColor":49},222238,"lv-bei-yin-shi-tu-zhou-xu-wei-222238","驴背吟诗图轴","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”（《琅嬛文集·跋徐青藤小品画》）",[7,23,173,400,225,106,6926,86,263],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纵112.2厘米，横30厘米",[44,163],{"id":6931,"slug":6932,"title":6933,"dynasty":76,"author":1047,"museum":132,"description":1048,"tags":6934,"thumbUrl":6935,"material":409,"size":1051,"collection":139,"collections":6936,"showCount":6909,"zanCount":2209,"manualWeight":48,"mainColor":94},216912,"hua-niao-si-tiao-ping-2-zhu-da-216912","花鸟四条屏-2",[7,23,24,225,173,400,370,229,865,4272,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg",[],{"id":6938,"slug":6939,"title":6940,"dynasty":76,"author":336,"museum":20,"description":6941,"tags":6942,"thumbUrl":6943,"material":123,"size":6944,"collection":90,"collections":6945,"showCount":6909,"zanCount":1337,"manualWeight":48,"mainColor":94},216752,"wan-ji-shuang-lang-shi-ning-216752","万吉骦","乾隆八年（1743年，癸亥），郎世宁绘制《十骏图》轴，万吉骦被称赞为十骏之首。画上文字记载：“喀尔喀郡王多尔济札尔进，高四尺二寸、长七尺一寸五分。乾隆癸亥孟春，海西臣郎世宁恭画”\n载于《石渠宝笈初编》，收贮于御书房，由郎世宁一人所画，十幅十马分别命名为奔霄骢、赤花鹰、雪点雕、霹雳骧、薾云驶、万吉骦、阚虎骝、狮子玉、自在驈、英骥子。",[7,209,23,24,28,27,150,808,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71c71a91f3ec9d93f4380b8fbbde8b.jpg","纵239厘米，横269厘米",[90],{"id":6947,"slug":6948,"title":6949,"dynasty":99,"author":6950,"museum":311,"description":6951,"tags":6952,"thumbUrl":6953,"material":139,"size":139,"collection":139,"collections":6954,"showCount":6955,"zanCount":1104,"manualWeight":48,"mainColor":49},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[7,209,23,24,939,27,28,83,297,369,34,6516,176,1629,1628,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":6957,"slug":6958,"title":6959,"dynasty":204,"author":2585,"museum":206,"description":6960,"tags":6961,"thumbUrl":6965,"material":302,"size":6966,"collection":139,"collections":6967,"showCount":6968,"zanCount":1337,"manualWeight":48,"mainColor":49},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[7,209,23,24,225,173,177,29,6962,2883,176,34,557,6963,1082,6964],"层岩","叠嶂","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","纵144.1厘米，横55.4厘米",[],201,{"id":6970,"slug":6971,"title":6972,"dynasty":204,"author":2585,"museum":206,"description":6973,"tags":6974,"thumbUrl":6975,"material":173,"size":6976,"collection":181,"collections":6977,"showCount":6968,"zanCount":1337,"manualWeight":48,"mainColor":49},218919,"han-lin-wan-xiu-tu-ju-ran-218919","寒林晚岫图","这幅画，是朱兰的作品，不属于这个时代，紧邻的岩石有范宽后来的点画作品。",[7,23,209,225,173,177,29,34,865,558,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[181],{"id":6979,"slug":6980,"title":6981,"dynasty":18,"author":676,"museum":447,"description":6982,"tags":6983,"thumbUrl":6984,"material":409,"size":6985,"collection":44,"collections":6986,"showCount":6968,"zanCount":1337,"manualWeight":48,"mainColor":94},218627,"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[7,209,23,24,25,243,244,106,433,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[44],{"id":6988,"slug":6989,"title":6990,"dynasty":54,"author":239,"museum":240,"description":241,"tags":6991,"thumbUrl":6992,"material":250,"size":251,"collection":139,"collections":6993,"showCount":6994,"zanCount":1104,"manualWeight":48,"mainColor":94},223368,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-223368","八十七神仙卷画芯",[7,23,209,24,25,244,243,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36123b58a75f5a7d01e9b779c4e2af7b.jpg",[],200,{"id":6996,"slug":6997,"title":6998,"dynasty":99,"author":170,"museum":583,"description":6999,"tags":7000,"thumbUrl":7003,"material":67,"size":7004,"collection":181,"collections":7005,"showCount":6994,"zanCount":1104,"manualWeight":48,"mainColor":49},222134,"qing-shan-hong-shu-tu-shen-zhou-222134","青山红树图","图绘秋天山林间红绿相映的醉人美景，用笔细致，多淡墨勾勒，赋色明艳。远山、坡石用披麻皴表现山峦的青翠秀逸，近景是被秋风染红的树木，摇曳生姿；一长者持杖伫立在溪岸旁饱览山色。题识：“千树秋风万叶飞，林蹊苔径步斜晖。履声历落啄歌去，犹有余红点着衣。沈周。”",[7,23,24,225,27,177,29,106,384,7001,7002,108,109,558],"青山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc471de5e3d6ba0b185a8a4cb7513ddee.jpg","65x147.2cm",[181,45],{"id":7007,"slug":7008,"title":7009,"dynasty":277,"author":278,"museum":311,"description":7010,"tags":7011,"thumbUrl":7015,"material":88,"size":139,"collection":44,"collections":7016,"showCount":6994,"zanCount":1314,"manualWeight":48,"mainColor":94},215033,"ri-ben-jie-tou-sheng-huo-tu-juan-yi-ming-215033","日本· 街头生活图卷","长卷铺展，市井烟火缓缓流淌。画面中，人物百态跃然绢上：挑担商贩步履匆匆，执伞行人衣袂轻扬，孩童追蝶跑过街巷，工匠俯身专注劳作。半掩的店门后，掌柜笑脸依稀；巷口茶摊边，老者围坐闲谈。伞的弧线、担的轮廓、车的轱辘，交织成动态的生活图景。每一处细节都藏着鲜活故事，仿佛能听见吆喝声、欢笑声、器物碰撞声，在时光里轻轻回响。这是对日常的温柔描摹，将平凡岁月里的热闹与鲜活，永远定格在素净的绢帛之上，让观者瞬间跌入那充满烟火气的旧时光。",[7,7012,209,25,27,28,244,106,1967,4230,157,116,3900,120,152,7013,7014],"日本画","摊位","日常","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e3a1210052e7e7d88509d4781dd6f9.jpg",[44],{"id":7018,"slug":7019,"title":7020,"dynasty":76,"author":7021,"museum":206,"description":7022,"tags":7023,"thumbUrl":7025,"material":123,"size":7026,"collection":328,"collections":7027,"showCount":6994,"zanCount":1337,"manualWeight":48,"mainColor":629},214210,"zhuan-shu-ba-yan-lian-yang-yi-sun-214210","篆书八言联","杨沂孙","释文: 上善若水上德若谷。持酒以礼持才以愚",[7,315,1163,7024,86,225],"对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0cdd98e7ca26423e27c34e194471a5.jpg","271.9x61.4",[328],{"id":7029,"slug":7030,"title":7031,"dynasty":76,"author":963,"museum":311,"description":7032,"tags":7033,"thumbUrl":7034,"material":139,"size":139,"collection":139,"collections":7035,"showCount":7036,"zanCount":1337,"manualWeight":48,"mainColor":94},234169,"yuan-ji-song-zhu-shi-tu-juan-shi-tao-234169","原济松竹石图卷","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[7,23,173,25,177,403,226,385,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a026c786782c5ee0e249a5786dafbd.jpg",[],199,{"id":7038,"slug":7039,"title":1361,"dynasty":189,"author":3051,"museum":7040,"description":7041,"tags":7042,"thumbUrl":7045,"material":123,"size":7046,"collection":42,"collections":7047,"showCount":7036,"zanCount":1314,"manualWeight":48,"mainColor":49},220394,"pin-cha-tu-qian-xuan-220394","大坂市立美术馆","本幅虽名为「品茶」，实与唐代以降「斗茶」的绘画传统有关。画中男子六人，左侧男子或持壶，或注汤点茶，或提笼注视对方；右侧三人或正举杯畅饮，或在等待取茶品尝。唯画中人物表情板滞，用色单调，画风不若钱选精细文雅，应是后人託名之作。",[7,23,209,27,106,7043,7044,228],"品茶","斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62aeab0bda969cca855a01b6bc6889e.jpg","35.5x68cm",[42],{"id":7049,"slug":7050,"title":7051,"dynasty":99,"author":2146,"museum":1098,"description":7052,"tags":7053,"thumbUrl":7054,"material":27,"size":139,"collection":45,"collections":7055,"showCount":7036,"zanCount":1104,"manualWeight":48,"mainColor":49},219250,"chun-shan-you-qi-tu-tang-yin-219250","春山游骑图","层岩叠嶂间，松涛与溪流相和。板桥之上，游骑缓行，衣袂带风；山间茅舍旁，雅士或谈或立，意趣悠然。山石勾勒劲挺，皴染兼具刚柔，尽显嶙峋之态；林木疏密有致，春枝带露，点点新红缀于枝桠，春意盎然。整幅画融自然之秀与人文之雅，藏着明代文人寄情山水的闲逸心怀——山行的清欢，友聚的惬意，都在笔墨间流转，每一处细节都似在诉说春日里与山水相逢的诗意。",[7,23,24,27,177,29,106,150,108,109,176,34,264,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9d535bdc2346ee40e7ff15b0a6f825.jpg",[45],{"id":7057,"slug":7058,"title":7059,"dynasty":76,"author":1278,"museum":1279,"description":1280,"tags":7060,"thumbUrl":7063,"material":123,"size":1283,"collection":139,"collections":7064,"showCount":7036,"zanCount":2209,"manualWeight":48,"mainColor":49},214432,"xiu-yuan-tu-3-wang-yun-214432","休园图-3",[7,23,24,28,27,104,175,7061,34,4272,266,106,115,1646,114,7062],"回廊","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f04a94cbad1ffb2d8f40ee56dc85b8.jpg",[],{"id":7066,"slug":7067,"title":7068,"dynasty":76,"author":1047,"museum":222,"description":7069,"tags":7070,"thumbUrl":7071,"material":139,"size":139,"collection":139,"collections":7072,"showCount":7073,"zanCount":48,"manualWeight":48,"mainColor":94},230286,"yu-shi-tu-juan-zhu-da-230286","鱼石图卷","此作用极简水墨写就，大片留白晕出空寂玄远的意境。怪石以枯淡焦墨挥扫，嶙峋奇崛，笔势纵逸老辣，似藏丘壑风骨。游鱼寥寥数笔便形神具足，悠游于虚空之间，不见水波而满幅皆含水意，将闲逸之趣藏于无中生有的灵趣之中。\n\n题跋与画面相映成趣，书法朴拙疏朗，和水墨笔意浑然相融。整卷以虚代实，以少胜多，脱尽尘俗烟火气，将冷逸禅意藏于笔墨留白之间，寥寥数笔便勾勒出物我两忘的天地，尽显极简至极的东方写意美学。",[7,23,173,25,400,229,783,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780cb8efb806c53984af9356a5a498f8.jpg",[],198,{"id":7075,"slug":7076,"title":7077,"dynasty":189,"author":645,"museum":20,"description":7078,"tags":7079,"thumbUrl":7080,"material":67,"size":7081,"collection":44,"collections":7082,"showCount":7073,"zanCount":1314,"manualWeight":48,"mainColor":629},220856,"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[7,23,24,25,27,28,150,106,384,109,151,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","纵28.5cm,横154cm",[44,45],{"id":7084,"slug":7085,"title":7086,"dynasty":99,"author":2494,"museum":7087,"description":7088,"tags":7089,"thumbUrl":7090,"material":81,"size":7091,"collection":181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× 23.8厘米",[181],{"id":7094,"slug":7095,"title":7096,"dynasty":18,"author":553,"museum":206,"description":7097,"tags":7098,"thumbUrl":7099,"material":123,"size":7100,"collection":42,"collections":7101,"showCount":7073,"zanCount":2209,"manualWeight":48,"mainColor":49},220227,"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[7,23,1218,177,173,734,1775,34,114,466,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[42,181],{"id":7103,"slug":7104,"title":7105,"dynasty":18,"author":2039,"museum":206,"description":7106,"tags":7107,"thumbUrl":7108,"material":123,"size":7109,"collection":42,"collections":7110,"showCount":7111,"zanCount":1337,"manualWeight":48,"mainColor":49},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[7,23,24,225,27,104,28,106,107,108,266,29,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[42,44,45],197,{"id":7113,"slug":7114,"title":7115,"dynasty":18,"author":746,"museum":7116,"description":7117,"tags":7118,"thumbUrl":7121,"material":699,"size":7122,"collection":328,"collections":7123,"showCount":7124,"zanCount":48,"manualWeight":48,"mainColor":94},221313,"dong-ting-zhong-shan-er-fu-quan-juan-su-shi-221313","洞庭中山二赋全卷","吉林省博物院","苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。 他长于行书、楷书， 笔法肉丰骨劲， 跌宕自然， 给人以“大海风涛之气”“古槎怪石之形”的艺术美感。 苏轼的书法，后人赞誉颇高。黄庭坚在他《山谷集》里说：“其书姿媚……至酒酣放浪，意忘工拙，字特瘦劲……至于笔圆而韵胜，挟以文章妙天下，忠义贯日月之气，本朝善书，自当推（苏）为第一”。明董其昌盛赞他“全用正锋，是坡公之兰亭也”。传世书迹有《前赤壁赋》《黄州寒食诗帖》《洞庭春色赋》《中山松醪赋》等。",[7,178,86,25,263,7119,403,7120,29],"洞庭","酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26499125ec3104dc526016eca85f356.jpg","28.3x450.3cm",[328],196,{"id":7126,"slug":7127,"title":7128,"dynasty":18,"author":886,"museum":101,"description":7129,"tags":7130,"thumbUrl":7131,"material":409,"size":7132,"collection":90,"collections":7133,"showCount":7124,"zanCount":1314,"manualWeight":48,"mainColor":49},218750,"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","这幅无名画据说是宋代著名龙画家陈容的作品，与波士顿博物馆的标准九龙图相比，它最接近波士顿博物馆的收藏。两条龙盘踞在岩石间的缝隙中，墨色苍白而古老，笔触滴水不漏。这幅画可以说是陈所翁画派的一个精品。",[7,23,24,25,173,177,433,384,176,2279,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[90],{"id":7135,"slug":7136,"title":7137,"dynasty":76,"author":1584,"museum":447,"description":7138,"tags":7139,"thumbUrl":7140,"material":88,"size":7141,"collection":181,"collections":7142,"showCount":7124,"zanCount":1337,"manualWeight":48,"mainColor":94},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[7,23,24,29,173,177,105,176,34,468,175,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[181],{"id":7144,"slug":7145,"title":7146,"dynasty":76,"author":7147,"museum":311,"description":7148,"tags":7149,"thumbUrl":7150,"material":139,"size":139,"collection":44,"collections":7151,"showCount":7152,"zanCount":48,"manualWeight":48,"mainColor":94},223079,"shui-hu-ren-wu-ren-xun-223079","水浒人物","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[7,209,23,24,225,27,28,106,63,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg",[44],195,{"id":7154,"slug":7155,"title":2202,"dynasty":76,"author":963,"museum":311,"description":7156,"tags":7157,"thumbUrl":7158,"material":139,"size":139,"collection":181,"collections":7159,"showCount":7160,"zanCount":2209,"manualWeight":48,"mainColor":94},224497,"shan-shui-ce-shi-tao-224497","此作以峡谷江流铺展画卷，春水澹澹载扁舟穿峡而过，舱中旅人静对山光。浅绛轻施晕染山石，清润柔和间见嶙峋风骨，枯笔皴擦点染枯枝，苍劲朴拙，与柔缓水色相映成趣。\n题诗伴画，将羁旅闲愁融进山岚烟波，画随诗添寂廖清旷之致。笔意灵动不拘一格，以淡墨轻岚晕开早春空蒙水雾，把文人隐逸襟怀寄寓在山水间，简淡画面中藏着悠长余韵，尽得山水写意之妙。",[7,23,27,173,177,81,29,174,109,176,866,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ec00a8f9b85ce3fb668f29eabc877.jpg",[181,45],194,{"id":7162,"slug":7163,"title":7164,"dynasty":76,"author":2103,"museum":206,"description":7165,"tags":7166,"thumbUrl":7167,"material":841,"size":7168,"collection":90,"collections":7169,"showCount":7160,"zanCount":48,"manualWeight":48,"mainColor":94},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[7,23,24,209,225,27,28,83,84,369,371,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[90,45],{"id":7171,"slug":7172,"title":7173,"dynasty":99,"author":7174,"museum":206,"description":7175,"tags":7176,"thumbUrl":7177,"material":409,"size":7178,"collection":328,"collections":7179,"showCount":7160,"zanCount":2209,"manualWeight":48,"mainColor":94},214552,"za-shu-shi-tie-juan-zhu-yun-ming-214552","杂书诗帖卷","祝允明","此卷书曹植《乐府》诗四首，写草书而不乱，情密势足，激越跃发，荦荦大度，点画狼藉，纵横驰骋，是他晚年狂草作品的高峰。",[7,86,2570,25,24,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9356818737424fb65f189c2dbbb9d6.jpg","36.1x1147.5",[328],{"id":7181,"slug":7182,"title":7183,"dynasty":76,"author":1744,"museum":78,"description":7184,"tags":7185,"thumbUrl":7186,"material":1271,"size":7187,"collection":90,"collections":7188,"showCount":7189,"zanCount":48,"manualWeight":48,"mainColor":94},223290,"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[7,23,24,225,173,83,226,407,228,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[90,163],193,{"id":7191,"slug":7192,"title":7193,"dynasty":99,"author":100,"museum":1406,"description":7194,"tags":7195,"thumbUrl":7196,"material":67,"size":7197,"collection":181,"collections":7198,"showCount":7189,"zanCount":1337,"manualWeight":48,"mainColor":94},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[7,23,24,25,26,27,28,178,86,29,174,106,175,109,108,107,34,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[181,45],{"id":7200,"slug":7201,"title":7202,"dynasty":189,"author":7203,"museum":206,"description":7204,"tags":7205,"thumbUrl":7206,"material":712,"size":7207,"collection":181,"collections":7208,"showCount":7189,"zanCount":1009,"manualWeight":48,"mainColor":49},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[7,23,24,25,173,177,29,175,108,109,34,106,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[181,163],{"id":7210,"slug":7211,"title":7212,"dynasty":18,"author":7213,"museum":78,"description":7214,"tags":7215,"thumbUrl":7217,"material":573,"size":7218,"collection":42,"collections":7219,"showCount":7189,"zanCount":48,"manualWeight":48,"mainColor":49},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[7,23,24,4850,173,27,177,29,1423,866,7216,150,106,1422,229,468,734],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[42,181,163],{"id":7221,"slug":7222,"title":7223,"dynasty":99,"author":4301,"museum":101,"description":7224,"tags":7225,"thumbUrl":7227,"material":123,"size":139,"collection":44,"collections":7228,"showCount":7189,"zanCount":2209,"manualWeight":48,"mainColor":94},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[7,23,24,25,173,27,28,177,29,106,175,108,109,34,385,86,7226],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[44],{"id":7230,"slug":7231,"title":7232,"dynasty":76,"author":278,"museum":7233,"description":7234,"tags":7235,"thumbUrl":7236,"material":123,"size":7237,"collection":44,"collections":7238,"showCount":7189,"zanCount":1104,"manualWeight":48,"mainColor":49},214337,"da-bei-shen-zhou-fo-xiang-yi-ming-214337","大悲神咒佛像","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[7,23,27,28,106,243,1554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e895004504e57c59c94e87ae8fcdf58.jpg","27.5x16",[44],{"id":7240,"slug":7241,"title":7242,"dynasty":18,"author":278,"museum":20,"description":7243,"tags":7244,"thumbUrl":7245,"material":7246,"size":7247,"collection":42,"collections":7248,"showCount":7249,"zanCount":2209,"manualWeight":48,"mainColor":49},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[7,23,25,28,27,244,106,59,29,1755,433,266,34,176,107,150,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[42,44,45],192,{"id":7251,"slug":7252,"title":7253,"dynasty":99,"author":7254,"museum":447,"description":7255,"tags":7256,"thumbUrl":7260,"material":123,"size":7261,"collection":44,"collections":7262,"showCount":7249,"zanCount":1009,"manualWeight":48,"mainColor":49},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[7,209,23,24,225,104,27,28,7257,107,1069,106,150,6926,114,7258,247,7259,3609,34,36,153],"宫城","城池","官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[44,45],{"id":7264,"slug":7265,"title":2019,"dynasty":18,"author":1419,"museum":206,"description":7266,"tags":7267,"thumbUrl":7268,"material":123,"size":7269,"collection":181,"collections":7270,"showCount":7249,"zanCount":2209,"manualWeight":48,"mainColor":49},218867,"xue-jing-ma-yuan-218867","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[7,23,24,27,28,29,107,106,865,1775,177,4655,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[181],{"id":7272,"slug":7273,"title":7274,"dynasty":949,"author":950,"museum":20,"description":7275,"tags":7276,"thumbUrl":7279,"material":88,"size":7280,"collection":90,"collections":7281,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":94},216931,"zong-shu-guo-guo-tu-qi-bai-shi-216931","棕树蝈蝈图","赭色树干以浓淡墨线勾皴，如老藤盘结，墨叶纷披似风过梢头，洒脱不羁。画面一隅，蝈蝈翅脉分明，肢足灵动，朱红与赭黄晕染出鲜活质感，似欲振翅而鸣。工细的虫与豪放的树形成鲜明对照，笔意间藏着对生活的细腻观察。简淡的纸本上，墨色苍劲与设色明丽相映成趣，寻常景物里溢出盎然生机，尽显白石老人以小见大、以俗见雅的艺术妙趣。",[7,23,27,173,28,83,7277,7278,263],"棕树","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34160a48a9de7587fb99671f3678ca1f.jpg","69.5x34.3cm",[90],{"id":7283,"slug":7284,"title":7285,"dynasty":99,"author":7286,"museum":311,"description":7287,"tags":7288,"thumbUrl":7289,"material":40,"size":7290,"collection":90,"collections":7291,"showCount":7292,"zanCount":1104,"manualWeight":48,"mainColor":49},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[7,209,23,24,225,27,28,83,692,866,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[90,45],191,{"id":7294,"slug":7295,"title":7296,"dynasty":18,"author":1419,"museum":20,"description":7297,"tags":7298,"thumbUrl":7300,"material":40,"size":7301,"collection":42,"collections":7302,"showCount":7292,"zanCount":1337,"manualWeight":48,"mainColor":49},221534,"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[7,209,23,24,28,27,83,7299,263],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd668d914b96b091a563b3ef5d0520878.jpg","纵26.2厘米，横25.8厘米",[42,181,45],{"id":7304,"slug":7305,"title":7306,"dynasty":18,"author":1699,"museum":101,"description":7307,"tags":7308,"thumbUrl":7309,"material":573,"size":7310,"collection":42,"collections":7311,"showCount":7292,"zanCount":1104,"manualWeight":48,"mainColor":49},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[7,23,209,24,25,28,177,173,29,1775,865,176,35,31,174,1542,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[42,181,45],{"id":7313,"slug":7314,"title":7315,"dynasty":18,"author":1395,"museum":101,"description":7316,"tags":7317,"thumbUrl":7318,"material":7319,"size":7320,"collection":42,"collections":7321,"showCount":7322,"zanCount":1337,"manualWeight":48,"mainColor":49},221576,"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[7,23,24,25,27,28,263,106,150,866,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 设色 手卷","纵29.4厘米 横827厘米",[42,44,45],190,{"id":7324,"slug":7325,"title":7326,"dynasty":1483,"author":3526,"museum":7327,"description":7328,"tags":7329,"thumbUrl":7331,"material":7332,"size":139,"collection":328,"collections":7333,"showCount":7322,"zanCount":48,"manualWeight":48,"mainColor":94},221027,"sang-luan-de-shi-er-xie-tie-wang-xi-zhi-221027","《丧乱得示二谢帖》","三之丸尚藏馆","《丧乱得示二谢帖》是唐代内府的双钩填墨摹本，奈良时期由遣唐使传入日本。日本皇室宫内厅三之丸尚藏馆藏。",[7,86,178,622,7330],"手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b62cd35fac662a85ccdc68062f08ebe.jpg","尺牍，行书。 纸本",[328],{"id":7335,"slug":7336,"title":1238,"dynasty":18,"author":278,"museum":132,"description":7337,"tags":7338,"thumbUrl":7339,"material":123,"size":139,"collection":90,"collections":7340,"showCount":7322,"zanCount":1314,"manualWeight":48,"mainColor":94},218556,"mu-dan-tu-yi-ming-218556","这幅牡丹图尽显宋人工笔花鸟的精妙意趣。花瓣层叠繁复，却以细腻线条勾勒得一丝不苟，粉白渐变间晕染出娇嫩柔润之态，花心处细微纹理亦清晰可见，足见画师对物象观察之深。叶片以浓淡不一的翠绿设色，叶脉勾勒精准，翻转向背间尽显生机，与花瓣的柔美形成刚柔呼应。古朴绢色背景更衬出牡丹的雍容雅致，无过多修饰却意境悠远。宋画重“格物”，此作于写实中蕴含诗意，将牡丹的华贵与清逸完美融合，虽为佚名之作，却不失宋代院体画的严谨与神韵，是宋代花鸟小品中的上乘之作。",[7,28,27,83,369,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cec98d7c1e9e0929c01e3c92e11d37.jpg",[90],{"id":7342,"slug":7343,"title":7344,"dynasty":189,"author":645,"museum":447,"description":7345,"tags":7346,"thumbUrl":7347,"material":123,"size":7348,"collection":44,"collections":7349,"showCount":7322,"zanCount":1314,"manualWeight":48,"mainColor":49},218424,"xi-ma-tu-zhao-meng-fu-218424","洗马图","《洗马图》以长卷形制铺展，笔墨生动传神。数匹骏马姿态各异，或昂首伫立，或缓步徐行，线条勾勒精准流畅，兼具书法笔意，马的肌肉纹理与鬃毛质感细腻可见。人物与马互动自然，牵马者神态悠然，骑马者身姿从容，衣袂线条飘逸洒脱。设色淡雅古朴，水墨为主辅以淡彩，营造出清逸雅致的氛围。画面疏密有致，节奏舒缓，既显写实功底，又含文人意趣，将日常洗马场景升华为富有诗意的艺术图景，尽显元代文人画的独特韵味与画家对生活的深刻体察。笔墨间流淌着雅致情韵，于细微处见真章，是元代画坛兼具技法与意境的佳作。",[7,23,24,25,27,106,150,28,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c78c3647eca859103177fa91693b.jpg","31.7x255.4",[44],{"id":7351,"slug":7352,"title":7353,"dynasty":189,"author":7354,"museum":101,"description":7355,"tags":7356,"thumbUrl":7357,"material":123,"size":139,"collection":42,"collections":7358,"showCount":7322,"zanCount":1009,"manualWeight":48,"mainColor":94},216755,"jin-ming-chi-zheng-biao-tu-wang-zhen-peng-216755","金明池争标图","王振鹏","金明池是一个传说中的美景，被描绘成一个异常和平的美景。王振鹏的作品中的人物都非常生动，表情丰富，使得整幅画面显得格外生动。金明池争标图是一幅非常珍贵的元朝时期的绘画作品，在当时非常受欢迎，被广泛流传。",[7,23,24,209,25,104,244,107,108,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596dd6f3fd7a15f379a6919bf3078fae.jpg",[42],{"id":7360,"slug":7361,"title":7362,"dynasty":18,"author":278,"museum":311,"description":7363,"tags":7364,"thumbUrl":7366,"material":139,"size":139,"collection":139,"collections":7367,"showCount":7368,"zanCount":1104,"manualWeight":48,"mainColor":49},227842,"ye-he-hua-tu-ye-yi-ming-227842","夜合花图页","《夜合花图》，宋， 佚名，绢本，设色，纵2.9 横25.4厘米 上海博物馆藏 图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。\n花朵轻勾淡染，用白粉点画花蕊，用四绿加少量淡墨分染花拖，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之，最后用焦茶描绘其杆。\n绿叶穿插向背，白花绿叶，色泽淡雅，使人赏心悦目。",[7,209,23,24,28,27,4850,83,7365,263],"夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ecf760311e803b651aa46969280b1.jpg",[],189,{"id":7370,"slug":7371,"title":7372,"dynasty":76,"author":7373,"museum":206,"description":7374,"tags":7375,"thumbUrl":7376,"material":139,"size":139,"collection":90,"collections":7377,"showCount":7368,"zanCount":48,"manualWeight":48,"mainColor":49},224119,"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[7,23,24,173,263,86,178,866,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[90,163],{"id":7379,"slug":7380,"title":7381,"dynasty":18,"author":7382,"museum":206,"description":7383,"tags":7384,"thumbUrl":7388,"material":699,"size":7389,"collection":44,"collections":7390,"showCount":7368,"zanCount":1104,"manualWeight":48,"mainColor":49},221217,"hua-fan-xiang-juan-zhang-sheng-wen-221217","画梵像卷","张胜温","《大理国梵像卷》是大理国（937－1254）（与五代和宋代同一时代）传世的唯一画卷，全卷设色贴金，绘製精谨，共分四段：第一段画大理国王利贞皇帝礼佛图，第二段绘佛、菩萨、佛母、天王和护法等数百位佛教人物，第三段为多心和护国宝幢，第四段是十六国王图。全卷内容丰富，素有「南天瑰宝」之誉。 内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[7,23,24,25,243,28,27,106,7385,4636,7386,7387,263],"佛像","飞天","经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","全长1635.5厘米，宽30.4厘米",[44,45],{"id":7392,"slug":7393,"title":7394,"dynasty":1483,"author":3526,"museum":56,"description":7395,"tags":7396,"thumbUrl":7397,"material":139,"size":139,"collection":328,"collections":7398,"showCount":7368,"zanCount":48,"manualWeight":48,"mainColor":49},221029,"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","《萬歲通天帖》又稱唐摹《王羲之一門書翰》、《王氏寶章集》。硬黃紙本，行草書，是東晉王羲之等七人十帖的唐摹書法精品，現藏於遼寧省博物館。\n宋代《秘閣續帖》、明代華夏《真賞齋帖》、文徵明《停雲館帖》、王肯堂《鬱岡齋帖》、清代《三希堂法帖》曾刻錄。 其中以真賞齋為精刻而有名。",[7,86,25,178,2570,105,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[328,2097],{"id":7400,"slug":7401,"title":7402,"dynasty":18,"author":3466,"museum":7403,"description":7404,"tags":7405,"thumbUrl":7406,"material":409,"size":7407,"collection":163,"collections":7408,"showCount":7368,"zanCount":1314,"manualWeight":48,"mainColor":94},218647,"dong-ting-qiu-yue-tu-mu-xi-218647","洞庭秋月图","德川美术馆","据东京大学专门研究中国绘画史的小川裕中教授说，这幅《洞庭秋月》应该是潇湘八景中的第七幅。使用最简单的材料--水和墨，穆克希出色地捕捉到了潇湘地区的潮湿空气和朦胧的光线。",[7,23,173,29,174,285,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2680a913c7b3b674cc9769c96fa43ce.jpg","29.4x93.1",[163],{"id":7410,"slug":7411,"title":7412,"dynasty":204,"author":1733,"museum":3188,"description":7413,"tags":7414,"thumbUrl":7415,"material":123,"size":139,"collection":44,"collections":7416,"showCount":7417,"zanCount":1314,"manualWeight":48,"mainColor":49},219590,"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[7,23,24,225,28,27,106,59,4304,226,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3506e1a0eb430a5f568336d083e69bc2.jpg",[44],188,{"id":7419,"slug":7420,"title":7421,"dynasty":99,"author":936,"museum":447,"description":7422,"tags":7423,"thumbUrl":7424,"material":123,"size":7425,"collection":44,"collections":7426,"showCount":7417,"zanCount":1337,"manualWeight":48,"mainColor":49},219531,"bu-gun-tu-chen-hong-shou-219531","补衮图","衮是古代君王的礼服，补衮有补救规谏帝王过失的寓意。图中绘有四人，发髻高耸，雍容华贵。",[7,23,24,28,27,106,59,228,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0bcfbcf40168efa236701b517fe221.jpg","纵109横78.5cm",[44,45],{"id":7428,"slug":7429,"title":7430,"dynasty":189,"author":645,"museum":20,"description":7431,"tags":7432,"thumbUrl":7433,"material":409,"size":7434,"collection":181,"collections":7435,"showCount":7417,"zanCount":1337,"manualWeight":48,"mainColor":49},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[7,23,25,173,29,177,86,108,109,174,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[181],{"id":7437,"slug":7438,"title":807,"dynasty":76,"author":803,"museum":583,"description":1453,"tags":7439,"thumbUrl":7440,"material":527,"size":7441,"collection":139,"collections":7442,"showCount":7443,"zanCount":1104,"manualWeight":48,"mainColor":94},223234,"mao-ren-yi-223234",[7,23,27,173,400,808,807,806,284,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a86222d0db22e107ac26316d3450be.jpg","150cmx40cm",[],187,{"id":7445,"slug":7446,"title":7447,"dynasty":18,"author":2297,"museum":311,"description":7448,"tags":7449,"thumbUrl":7450,"material":123,"size":7451,"collection":90,"collections":7452,"showCount":7443,"zanCount":1314,"manualWeight":48,"mainColor":49},218538,"ming-hua-yan-se-tu-li-di-218538","名花艳色图","绢本底色如陈年素笺，托出一朵淡粉牡丹。花瓣层叠若堆雪，边缘晕染浅绯，似被晨雾轻笼；花心处颜色稍浓，藏着几分含蓄的艳。墨叶以中锋勾筋，浓淡相间的绿里，叶脉如丝缕清晰，翻卷姿态带着自然野趣。宋人的笔触不疾不徐，于细腻中见真意：没有浓妆艳抹，却让花的柔润与叶的苍劲相映成趣。整幅画如无声的诗，将名花的雍容与雅致凝于方寸，静立眼前，似能嗅到穿越千年的清淡花香，沉于这片刻古典诗意里。",[7,23,24,209,28,27,83,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b4d04bd069c3b826fdbe71d4b8e325.jpg","30x34",[90],{"id":7454,"slug":7455,"title":7456,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":7457,"thumbUrl":7458,"material":2164,"size":2165,"collection":139,"collections":7459,"showCount":7460,"zanCount":2209,"manualWeight":48,"mainColor":94},288173,"hu-shi-ju-qin-tu-li-zhou-zhu-da-288173","湖石聚禽图立轴",[7,209,23,24,225,173,83,266,229,86,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c97905d89105cc7edd24a3f909cf39.jpg",[],186,{"id":7462,"slug":7463,"title":7464,"dynasty":76,"author":2924,"museum":311,"description":7465,"tags":7466,"thumbUrl":7470,"material":139,"size":139,"collection":139,"collections":7471,"showCount":7460,"zanCount":48,"manualWeight":48,"mainColor":94},224380,"hua-hui-chong-cao-ju-lian-224380","花卉虫草","这套册页小品十二帧各成天地，明丽柔润的设色晕开草木清辉。花卉姿态各异，或是垂枝含露、或是灼灼盛放，以太湖石为衬，衬出花木的绰约清姿。\n\n笔墨兼具工细与写意，虫草点缀其间，翅脉纹路纤毫毕现，似将振翅而起，把四季花木的生机封藏尺幅间。不做繁复铺陈，尽显细腻写实的画韵，一花一叶皆藏灵趣，浅淡花香仿佛随画漫出，虫翼轻振的细碎声响似在耳边，将庭院闲趣绘成隽永诗意，把山野小景晕染成清逸雅致的东方意趣。",[7,23,24,209,4850,27,83,84,7467,7468,28,400,7469],"虫草","太湖石","清逸雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ccd78c842f80eedfe55c2cef019efe.jpg",[],{"id":7473,"slug":7474,"title":7475,"dynasty":54,"author":7476,"museum":101,"description":7477,"tags":7478,"thumbUrl":7479,"material":7480,"size":7481,"collection":328,"collections":7482,"showCount":7460,"zanCount":2209,"manualWeight":48,"mainColor":49},221069,"ling-fei-jing-chang-juan-zhong-shao-jing-221069","灵飞经长卷","钟绍京","《灵飞经》又名《六甲灵飞经》，是灵道教的一部经。主要阐述存思之法。今道藏有《上清琼宫灵飞六甲左右上符》，一卷。《汉武内传》谓此经用于请命延算、长生久视、驱策众灵、役使鬼神。\n《灵飞经》书法作品是唐代著名小楷之一，无名款。元袁桷、明董其昌皆以为唐钟绍京书。明董其昌说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[7,86,621,5152,622,25,24,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ea8afb39f27c1c093c1675d3b1faa1.jpg","墨迹本","20.8×8.9cm",[328,2097],{"id":7484,"slug":7485,"title":7486,"dynasty":76,"author":7487,"museum":78,"description":7488,"tags":7489,"thumbUrl":7498,"material":88,"size":139,"collection":44,"collections":7499,"showCount":7460,"zanCount":350,"manualWeight":48,"mainColor":94},218255,"shi-nv-ce-wu-jia-you-218255","仕女册","吴嘉猷","细腻笔触晕染出闺阁的温婉时光。仕女们或临窗研墨，或凭栏观鸟，或围坐品茗，或抚琴寄怀。庭院花木扶疏，轩窗屏风雅致，每一处细节都藏着东方生活的诗意。衣袂褶皱、器物纹理、人物神态皆被精心勾勒，尽显古代女性的娴静灵秀。一幅幅日常场景串联成流动画卷，将清人闺阁的雅致情趣与审美意趣悄然铺展，引人沉醉于那份古典的温柔与从容。笔墨间流淌的不仅是生活片段，更是东方美学里独有的温婉与雅致，让观者仿佛踏入时光回廊，触摸到古代仕女的细腻心境。",[7,23,81,28,27,1205,59,115,107,7490,299,7491,266,7492,7493,7494,7495,7496,7497,300,1646],"轩窗","花木","抚琴","品茗","研墨","温婉","娴静","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbf079b3eb908aacb932a649ab3bd75.jpg",[44],{"id":7501,"slug":7502,"title":7503,"dynasty":204,"author":1733,"museum":311,"description":7504,"tags":7505,"thumbUrl":7506,"material":139,"size":139,"collection":139,"collections":7507,"showCount":7508,"zanCount":1104,"manualWeight":48,"mainColor":94},226711,"zhong-ping-hui-qi-tu-juan-zhou-wen-ju-226711","重屏会棋图卷","《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3厘米，横70.5厘米。\n本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。\n图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”\n作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。\n由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。\n此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。\n清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。\n周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。",[7,23,24,25,28,27,244,86,263,106,5766,228,3830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f5fda46eb059b27ecc01f52d1e757.jpg",[],185,{"id":7510,"slug":7511,"title":2171,"dynasty":99,"author":3869,"museum":447,"description":7512,"tags":7513,"thumbUrl":7515,"material":123,"size":7516,"collection":90,"collections":7517,"showCount":7508,"zanCount":2209,"manualWeight":48,"mainColor":49},216730,"hua-niao-tu-lv-ji-216730","吕纪明朝画家，也被称为吕笃简。他是著名的花鸟画家，并且在当时期间担任过朝廷画家。吕纪的花鸟画精细细腻，注重画面的组合构图，对后世的花鸟画产生了很大的影响。他的著名作品有《花鸟图》和《四季花卉图》。",[7,23,28,27,83,1322,925,266,2310,7514,384],"花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","200x102.8cm",[90],{"id":7519,"slug":7520,"title":7521,"dynasty":204,"author":1839,"museum":311,"description":7522,"tags":7523,"thumbUrl":7524,"material":2164,"size":2165,"collection":139,"collections":7525,"showCount":7526,"zanCount":1337,"manualWeight":48,"mainColor":629},289944,"xia-shan-tu-dong-yuan-289944","夏山图","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。",[7,209,23,25,173,29,34,31,174,175,151,177,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ceabacb99b9da3101f03c4570459283.jpg",[],184,{"id":7528,"slug":7529,"title":7530,"dynasty":99,"author":817,"museum":311,"description":7531,"tags":7532,"thumbUrl":7533,"material":139,"size":139,"collection":139,"collections":7534,"showCount":7526,"zanCount":972,"manualWeight":48,"mainColor":49},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[7,23,24,25,27,29,178,177,28,175,108,109,34,106,263,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],{"id":7536,"slug":7537,"title":2171,"dynasty":76,"author":2525,"museum":311,"description":7538,"tags":7539,"thumbUrl":7540,"material":7541,"size":7542,"collection":90,"collections":7543,"showCount":7526,"zanCount":972,"manualWeight":48,"mainColor":49},222662,"hua-niao-tu-ma-quan-222662","马荃（生卒年不详），字江香，江苏常熟人。清代女画家。马元驭之（1669—1722）女（一作马元驭孙女），逸妹。生活于康熙、乾隆年间，\n时与女画家恽冰齐名。\n龚克和妻。工花卉，妙得家法。其夫亦工书、画，偕游京师，以绘事给衣食，颇怡。夫亡归里，绸缠染翰，饮冰茹茶，而名益高，四方以缣素兼金求画者益聚。常蓄婢数人，悉令调铅杀粉。而琴川多贵游士女，皆来求授指法。时常州恽冰画以没骨名，而江香以勾染名，江南人谓之双绝。康熙三十五年（1696）作花卉草虫册十二页，乾隆四年（1739）作琳池草虫扇。马荃代表作品价位2008年行情在3—5万\u002F平尺，市场升值潜力较大，为很多书画收藏家所追捧。",[7,23,209,24,225,28,27,83,512,989,4022,229,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 43cm",[90,45],{"id":7545,"slug":7546,"title":7547,"dynasty":76,"author":5585,"museum":222,"description":7548,"tags":7549,"thumbUrl":7550,"material":1271,"size":7551,"collection":90,"collections":7552,"showCount":7526,"zanCount":48,"manualWeight":48,"mainColor":94},222642,"mu-dan-tu-li-zhou-gao-feng-han-222642","牡丹图立轴","此幅长卷有《梅花》和《牡丹》两幅合并而成，左侧《梅花》图绘梅枝从画上端斜入，细枝颇多，寒冬中梅花绽放出铮铮傲骨；《牡丹》图中二朵牡丹开放，花瓣层层叠叠，还有一朵藏于石后，含羞露出一半，一枝花枝从牡丹花后露出，姿态优美。",[7,23,24,225,27,83,173,178,263,369,62,658,607,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aed756d0a5f52a061a356ddf8967852.jpg","20x317cm",[90,163],{"id":7554,"slug":7555,"title":1462,"dynasty":189,"author":2307,"museum":206,"description":7556,"tags":7557,"thumbUrl":7559,"material":1271,"size":7560,"collection":181,"collections":7561,"showCount":7526,"zanCount":2209,"manualWeight":48,"mainColor":49},221788,"shan-shui-tu-cao-zhi-bai-221788","《山水图》本幅画隔水江岸，主山峰峦水墨淋漓，前中景作双松耸立，笔墨造型皆从北宋李郭传统中汲取特色，再以焦浓黑墨提醒主题，营造出更有墨趣的元代李郭画风新意。",[7,209,23,173,29,1365,557,7558,176,263,86],"江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3665a4d5c8569bf27af312555ab7bab.jpg","纵86.1厘米横34.3厘米",[181,163],{"id":7563,"slug":7564,"title":7565,"dynasty":54,"author":616,"museum":20,"description":7566,"tags":7567,"thumbUrl":7568,"material":699,"size":7569,"collection":328,"collections":7570,"showCount":7526,"zanCount":2209,"manualWeight":48,"mainColor":49},221054,"zheng-zuo-wei-tie-quan-juan-yan-zhen-qing-221054","争座位帖全卷","《争座位帖》亦称《论座帖》、《与郭仆射书》，为颜真卿行草书精品，唐广德二年（公元764）颜真卿写给定襄王郭英义的书信手稿。行草书，传有七纸，约64行古时。\n《争座位帖》与颜的《祭侄文稿》、《祭伯文稿》被合称为“颜书三稿”。与王羲之的《兰亭序》并称为“行书双璧”。此稿信笔疾书，苍劲古雅，为世所珍。",[7,86,178,25,24,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fead3ade21468b04a4fd65a4d6fb8c1.jpg","370x30厘米",[328,2097],{"id":7572,"slug":7573,"title":7574,"dynasty":54,"author":2644,"museum":6162,"description":7575,"tags":7576,"thumbUrl":7578,"material":699,"size":7579,"collection":139,"collections":7580,"showCount":7581,"zanCount":2209,"manualWeight":48,"mainColor":94},232622,"jiang-gan-xue-ji-tu-juan-wang-wei-232622","江干雪霁图卷","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。\n王维（701－761），字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[7,209,23,24,25,173,177,29,7577,1079,865,266,114],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纵31.3厘米，横207.3厘米",[],183,{"id":7583,"slug":7584,"title":7585,"dynasty":18,"author":418,"museum":206,"description":7586,"tags":7587,"thumbUrl":7588,"material":409,"size":7589,"collection":42,"collections":7590,"showCount":7581,"zanCount":1337,"manualWeight":48,"mainColor":94},221338,"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[7,23,24,225,173,177,29,30,34,468,174,37,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[42,181,163],{"id":7592,"slug":7593,"title":7594,"dynasty":54,"author":7595,"museum":206,"description":7596,"tags":7597,"thumbUrl":7598,"material":712,"size":7599,"collection":328,"collections":7600,"showCount":7581,"zanCount":2209,"manualWeight":48,"mainColor":94},221097,"zi-xu-tie-quan-juan-huai-su-221097","自叙帖全卷","怀素","《自叙帖》为怀素自述其生平大略，兼录颜真卿、张谓、戴叔伦等人对其的赠诗成文。通篇为狂草，笔笔中锋，如锥划沙盘，纵横斜直，无往不收；全卷强调连绵草势，运笔上下翻转，忽左忽右，起伏摆荡，有疾有速，有轻有重，通幅于规矩法度中，奇踪变化，神采动荡，实为草书艺术的极致表现。《自叙帖》自唐末五代以来一直是草书领域的热门法帖，在中国草书史上承前启后，在书法艺术领域影响深远。 它是怀素流传下来篇幅最长的作品，人称“天下第一草书”。 正如北京大学教授、引碑入草开创者的李志敏评价：怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。",[7,86,2570,25,263,622,24,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2b523ef15a110b2a5489755e76b49e.jpg","纵28.3厘米，横775厘米",[328,2097],{"id":7602,"slug":7603,"title":7604,"dynasty":1483,"author":3526,"museum":1666,"description":7605,"tags":7606,"thumbUrl":7607,"material":7608,"size":7609,"collection":328,"collections":7610,"showCount":7581,"zanCount":1337,"manualWeight":48,"mainColor":629},221028,"shi-qi-tie-wang-xi-zhi-221028","十七帖","《十七帖》是王羲之草书代表作，因卷首由“十七”二字而得名。原墨迹早佚，现传世《十七帖》是刻本。唐张彦远“法书要录”记载了《十七帖》原墨迹的情况：“《十七帖》长一丈二尺，即贞观中内本也，一百七行，九百四十三字。是煊赫著名帖也。太宗皇帝购求二王书，大王书有三千纸，率以一丈二尺为卷，取其书迹与言语以类相从缀成卷。”\n此帖为一组书信，据考证是写给他朋友益州刺史周抚的。书写时间从永和三年到升平五年（公元347-361年），时间长达十四年之久，是研究王羲之生平和书法发展的重要资料。清人包世臣有“十七帖疏征”一文可以参考。\n此帖前人评价甚高。如宋黄伯思说：“此帖逸少书中龙也”。朱熹说“玩其笔意，从容衍裕，而气象超然，不与法缚，不求法脱。所谓一一从自己胸襟中流出者。”也有人认为此帖“笔法古质浑然，有篆籀遗意”。这些评价都很中肯。尤其说它们写的从容、不受法的拘束，好像从自己胸中自然流出一样，最为深刻准确。孙过庭曾说过：“子敬（王献之）已下，莫不鼓努为力，标置成体”，即王羲之以下，都是在写字时故意用力，故意要表现自己有自己的艺术风格，这样就反而失去书写时的自然之美了。这种对比式的评论，对书法欣赏很有启示。",[7,2570,86,25,622,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4981f2b1a02a1372ae9f32e7e1133e56.jpg","纸本墨拓","纵25.1厘米，横16.4厘米。",[328,2097],{"id":7612,"slug":7613,"title":7614,"dynasty":204,"author":7615,"museum":206,"description":7616,"tags":7617,"thumbUrl":7618,"material":88,"size":7619,"collection":181,"collections":7620,"showCount":7581,"zanCount":1314,"manualWeight":48,"mainColor":49},219079,"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","关仝","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[7,23,209,29,225,177,27,558,34,31,174,475,175,866,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[181],{"id":7622,"slug":7623,"title":7624,"dynasty":76,"author":1278,"museum":1279,"description":1280,"tags":7625,"thumbUrl":7626,"material":123,"size":1283,"collection":139,"collections":7627,"showCount":7581,"zanCount":48,"manualWeight":48,"mainColor":49},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2",[7,23,24,29,27,28,177,176,865,175,107,2019,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg",[],{"id":7629,"slug":7630,"title":7631,"dynasty":99,"author":397,"museum":20,"description":7632,"tags":7633,"thumbUrl":7634,"material":699,"size":7635,"collection":163,"collections":7636,"showCount":7637,"zanCount":2209,"manualWeight":48,"mainColor":94},222237,"xie-yu-tu-xu-wei-222237","蟹鱼图","《蟹鱼图》“走笔如飞，泼墨淋漓”，在用笔上他强调一个“气”字，看似草草，若断若连，实际上笔与笔之间有着气势在贯通，观他的作品，能体会出他是在借物吟咏人生情怀，由此可见，画家徐渭以他的才情，将中国大写意花鸟画推上了艺术的最高峰，此图不愧为大写意艺术的巨匠的杰作。",[7,23,173,25,400,5987,783,314,3899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0c23795adba5be0f62953199fed27d.jpg","28.7cmx98cm",[163],182,{"id":7639,"slug":7640,"title":7641,"dynasty":18,"author":146,"museum":20,"description":147,"tags":7642,"thumbUrl":7643,"material":160,"size":161,"collection":139,"collections":7644,"showCount":47,"zanCount":48,"manualWeight":48,"mainColor":49},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[7,209,23,24,25,28,104,27,106,107,108,109,149,150,151,384,112,110,35,31,36,118,116,113,114,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],{"id":7646,"slug":7647,"title":7648,"dynasty":99,"author":278,"museum":101,"description":7649,"tags":7650,"thumbUrl":7652,"material":67,"size":7653,"collection":139,"collections":7654,"showCount":47,"zanCount":1104,"manualWeight":48,"mainColor":49},223350,"shi-nv-tu-ce-yi-ming-223350","仕女图册","画面以仕女为主题。最早见于唐代长沙窑瓷器。宋元时期仕女图较为罕见，这与当时花鸟画盛行有很大的关系.",[7,23,24,81,27,28,106,59,285,866,229,7651],"小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a51b5949edc9d99b29841d97b4903d4.jpg","12.7×19.1",[],{"id":7656,"slug":7657,"title":7658,"dynasty":3895,"author":7659,"museum":206,"description":7660,"tags":7661,"thumbUrl":7663,"material":88,"size":7664,"collection":44,"collections":7665,"showCount":47,"zanCount":2209,"manualWeight":48,"mainColor":94},220447,"san-gu-cao-lu-tu-dong-zhan-220447","三顾草庐图","董展","本幅绘汉末刘备三顾草庐、邀诸葛孔明出山之故实。画中长松修竹掩翳茅屋，孔明羽扇纶巾、依榻凝思，童仆正应门而出。篱外刘备、关羽、张飞三骑及从者行近，山岭后并见旌旗戈戟微露，人马仍众。画笔轻健秀润，惟上半山岭系后人补笔。幅上无款，依元萨都剌至正甲午之题，定为隋董展所作。然萨都剌之题字与其年款及跋语内容均不合，应为后人作品所伪托。",[7,23,24,27,29,106,150,34,176,114,1267,7662],"人物活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935336d0a9d6d7dd611cbe1a446059.jpg","全幅 43.8x29.5公分，诗塘 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显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[7,23,173,27,1352,177,29,1365,466,33,176,175,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[42],{"id":7738,"slug":7739,"title":7740,"dynasty":18,"author":7741,"museum":311,"description":7742,"tags":7743,"thumbUrl":7744,"material":2164,"size":2165,"collection":139,"collections":7745,"showCount":7746,"zanCount":48,"manualWeight":48,"mainColor":49},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[7,209,23,24,25,173,29,557,1079,37,107,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":7748,"slug":7749,"title":7750,"dynasty":204,"author":7751,"museum":206,"description":7752,"tags":7753,"thumbUrl":7755,"material":139,"size":139,"collection":139,"collections":7756,"showCount":7746,"zanCount":1337,"manualWeight":48,"mainColor":49},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[7,209,23,24,25,27,28,7558,865,3899,174,1542,109,106,1776,1843,7754,867,33,314],"初雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],{"id":7758,"slug":7759,"title":7760,"dynasty":76,"author":4192,"museum":1529,"description":7761,"tags":7762,"thumbUrl":7763,"material":699,"size":7764,"collection":181,"collections":7765,"showCount":7746,"zanCount":2209,"manualWeight":48,"mainColor":49},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[7,23,209,25,173,177,29,557,558,34,466,37,174,4064,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[181,163],{"id":7767,"slug":7768,"title":7769,"dynasty":18,"author":2297,"museum":78,"description":7770,"tags":7771,"thumbUrl":7772,"material":573,"size":7773,"collection":42,"collections":7774,"showCount":7746,"zanCount":1104,"manualWeight":48,"mainColor":49},221596,"xue-shu-han-qin-tu-li-di-221596","雪树寒禽图","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。\n此图绘写寒气凛冽的深冬，天空中飘扬着霏霏絮雪，山野坡地上一枝落尽残叶的棘树在寒风中挺立。一丛修篁傍树而生，积雪的竹叶依然清翠晶亮。在这冷寂的雪天里，一只孤单的伯劳鸟，似乎倦于飞翔，在这里暂且栖息，它安详地停立在枝头上。凝视着微茫的雪色",[7,23,209,24,225,28,27,1775,865,370,4272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1115e9ff920959c5d8924f9a138d9fa.jpg","纵115.7厘米，纵52.8厘米",[42,90,45],{"id":7776,"slug":7777,"title":7778,"dynasty":18,"author":7779,"museum":206,"description":7780,"tags":7781,"thumbUrl":7782,"material":712,"size":7783,"collection":42,"collections":7784,"showCount":7746,"zanCount":48,"manualWeight":48,"mainColor":49},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[7,209,23,24,25,105,104,28,27,29,107,108,109,174,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[42,181,163],{"id":7786,"slug":7787,"title":7788,"dynasty":949,"author":950,"museum":7789,"description":7790,"tags":7791,"thumbUrl":7793,"material":7794,"size":139,"collection":139,"collections":7795,"showCount":7746,"zanCount":48,"manualWeight":48,"mainColor":94},220588,"shu-cai-he-san-zhong-kun-chong-qi-bai-shi-220588","蔬菜和三种昆虫","Oscar Niemeyer Museum","以大写意挥毫白菜，浓墨铺陈菜叶，枯湿浓淡间尽显舒展之姿，朴拙厚重藏着清新生气，寥寥数笔便写出白菜的莹润鲜活。朱红辣椒点缀，艳色跳脱墨色，冷暖撞色生出明快野趣。\n\n工笔草虫细致入微，蜻蜓薄翼通透纤毫毕现，鸣虫灵动宛似欲振翅低吟，将草野生机凝于尺幅。题字苍劲老辣，书画印浑然相融，将田家寻常蔬食化为清趣盎然的雅境，以烟火日常寄寓冲淡天真的意趣，把乡野小景晕染成饱含诗意的鲜活画卷，尽显雅俗共赏的笔墨情致。",[7,23,173,27,400,28,225,86,263,4676,7792,696,1920],"辣椒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02273d02cbd82e57c1882fb536b59302.jpg","Watercolor on paper",[],{"id":7797,"slug":7798,"title":7799,"dynasty":18,"author":1419,"museum":206,"description":7800,"tags":7801,"thumbUrl":7804,"material":123,"size":7805,"collection":90,"collections":7806,"showCount":7746,"zanCount":48,"manualWeight":48,"mainColor":94},219203,"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[7,23,209,24,1352,27,28,173,177,226,402,7802,229,7803,83],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[90,42],{"id":7808,"slug":7809,"title":7810,"dynasty":18,"author":278,"museum":206,"description":7811,"tags":7812,"thumbUrl":7813,"material":123,"size":7814,"collection":45,"collections":7815,"showCount":7816,"zanCount":1314,"manualWeight":48,"mainColor":49},219187,"hua-wang-tu-yi-ming-219187","花王图","深红牡丹层叠如绮，凝脂染霞般盛放，花叶脉络分明，翠色欲滴。彩蝶翩跹其间，或停驻瓣尖，或振翅穿叶，灵动如生。下方拳石皴法古拙，纹理苍劲，与柔艳花簇相映成趣。笔墨工致却不刻板，设色浓妍而不失清雅，于绚烂中藏静穆，富贵气里透逸韵。一花一叶皆含生机，蝶影石姿俱见匠心，尽显宋代花鸟画状物传神之妙，仿佛能闻暗香浮动，触花叶温润，堪称工笔花鸟的典范之作。",[7,23,209,24,225,28,27,83,369,512,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e51ff66eaeeb48311a78d2dc98d048e.jpg","117.2x72.3公分",[45],178,{"id":7818,"slug":7819,"title":7820,"dynasty":189,"author":7821,"museum":20,"description":7822,"tags":7823,"thumbUrl":7824,"material":1488,"size":7825,"collection":163,"collections":7826,"showCount":7827,"zanCount":2209,"manualWeight":48,"mainColor":94},221834,"qing-bi-ge-mo-zhu-tu-zhou-ke-jiu-si-221834","清閟阁墨竹图轴","柯九思","本幅自识：“至元後戊寅十二月十三日，留清閟閣，因作此卷。丹丘生題。”钤“柯氏敬仲”。\n竹，由于被传统文人赋予了“虚心异众草，节劲逾凡木”的人格象征，因此，自宋代文同等人倡导始，到元代已成为极受欢迎的绘画题材。从技法上看，有勾勒填色的“画竹”与墨笔写意的“写竹”之分。此图即属于“写竹”一路画法。柯九思曾主张：“画竹写干用篆法，枝用草书法，写叶用八分或用鲁公撇笔法。”（《珊瑚网·画跋·卷八》）观此图画法，拳石皴法浑厚，实源于董巨一派，而墨竹则全法文同。作者以淡墨写干，用笔挺拔圆浑，宛如篆书，竹节两端再复垂墨，不勾节却连属自然。竹叶行笔沉着稳健，一如后人形容他的墨竹 “大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[7,23,24,173,225,226,229,263,86,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[163,1896],177,{"id":7829,"slug":7830,"title":7831,"dynasty":18,"author":5793,"museum":1666,"description":7832,"tags":7833,"thumbUrl":7835,"material":699,"size":7836,"collection":42,"collections":7837,"showCount":7827,"zanCount":1104,"manualWeight":48,"mainColor":94},221605,"tai-bai-xing-yin-tu-liang-kai-221605","太白行吟图","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[7,23,173,7834,400,106,263],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceb68802f7eb8ed417349f2db1071bb.jpg","纵向81.2厘米，横向30.4厘米",[42,44,163],{"id":7839,"slug":7840,"title":7841,"dynasty":18,"author":146,"museum":206,"description":7842,"tags":7843,"thumbUrl":7845,"material":27,"size":7846,"collection":42,"collections":7847,"showCount":7827,"zanCount":1337,"manualWeight":48,"mainColor":49},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[7,209,23,24,25,28,104,244,27,106,36,111,107,152,112,113,31,34,114,120,2949,7844],"宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 14.2公分。",[42,45],{"id":7849,"slug":7850,"title":7851,"dynasty":18,"author":278,"museum":206,"description":7852,"tags":7853,"thumbUrl":7855,"material":123,"size":139,"collection":42,"collections":7856,"showCount":7827,"zanCount":1337,"manualWeight":48,"mainColor":49},218967,"la-mei-han-qin-tu-yi-ming-218967","腊梅寒禽图","寒汀疏影里，腊梅枝桠斜逸，点点白花似凝着清霜，在冷寂中透出淡香。岸畔山茶红萼灼灼，与枯瘦的梅枝相映，暖了一帧冬景。两只水禽悠游浅波，羽色素净，颈间一抹白如落雪，姿态闲逸得像在细品风的轻语。远处山影淡如烟岚，天际归鸟三两，更衬出天地的旷远。\n\n笔墨细腻却不刻意，草木的情态、水禽的姿态皆得自然之趣。宋人的心境藏在这帧画里：于寻常冬景中撷取宁静与生机，让清寂时光浸着温润诗意——没有浓墨重彩的渲染，却以极简的笔触，将冬的清寒与生命的从容，凝成了可触摸的温润。",[7,209,23,24,28,27,83,402,7854,229,2310,386],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg",[42,90],{"id":7858,"slug":7859,"title":7860,"dynasty":76,"author":7861,"museum":206,"description":7862,"tags":7863,"thumbUrl":7864,"material":409,"size":7865,"collection":328,"collections":7866,"showCount":7827,"zanCount":1009,"manualWeight":48,"mainColor":94},214231,"shi-xie-shi-he-chao-214231","食蟹诗","何焯","墨痕清润，笔锋起落间藏着严谨法度，却不失灵动之致。结体端稳如磐石，笔画牵丝若隐若现，似蟹螯轻张的意趣。诗中食蟹的闲雅况味，透过一行行秀逸字迹缓缓流露——仿佛能见案头蟹肥酒暖，挥毫者指尖带笑，将唇齿鲜意与心头闲适，尽数化入横竖撇捺。章法疏朗有致，每字皆经得起细品，既见学者沉稳，又藏文人雅趣，墨香与诗味交织，晕染出一段清隽时光。",[7,86,178,173,225,24,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf41c7623c0f59c57bcc8df2bec020dc.jpg","136.8x45.6",[328],{"id":7868,"slug":7869,"title":7870,"dynasty":949,"author":7871,"museum":1941,"description":7872,"tags":7873,"thumbUrl":7875,"material":139,"size":139,"collection":139,"collections":7876,"showCount":7877,"zanCount":2209,"manualWeight":48,"mainColor":94},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[7,23,24,225,27,173,83,227,136,696,7874,137,314,400],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],176,{"id":7879,"slug":7880,"title":7881,"dynasty":76,"author":7882,"museum":1098,"description":7883,"tags":7884,"thumbUrl":7886,"material":88,"size":7887,"collection":45,"collections":7888,"showCount":7877,"zanCount":1337,"manualWeight":48,"mainColor":49},219264,"jin-ding-he-mei-tu-gai-qi-219264","金鼎和美图","改琦","画面中仕女群像情态和融，居中者衣袂温婉，手持细物若有所思；旁侧侍女或捧壶侍立，或举灯相照，姿态轻柔。案上金鼎、茶具雅致，衬出闺阁的娴静。线条细劲如丝，衣纹飘逸灵动，设色温润淡雅，发髻钗饰精巧入微。人物间互动自然，暖意融融，将日常闺中场景绘成一幅清丽雅致的和美图卷，尽显清代仕女画的秀逸韵致。",[7,23,24,225,28,27,106,59,7885,436,228,4361],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9eae989c0fdce3e7f5b0ecf0ef7bb.jpg","190 × 67.7 cm",[45],{"id":7890,"slug":7891,"title":7892,"dynasty":76,"author":7893,"museum":447,"description":7894,"tags":7895,"thumbUrl":7896,"material":123,"size":139,"collection":90,"collections":7897,"showCount":7877,"zanCount":1337,"manualWeight":48,"mainColor":49},219033,"mao-tu-ying-zhao-219033","猫图","应召","蜷坐的花猫毛色斑斓，黑褐与橘白交织晕染，绒毛质感蓬松柔软。它回眸的瞬间，瞳仁如墨点般清亮，双耳微竖，似正留意周遭动静。淡赭色的背景上，散落着几枚浅墨点染的细石，简淡中见意趣。画家以细腻笔触捕捉猫的慵懒与机警，线条温婉却不失骨力，色彩雅致而富有层次。画面留白处更显空灵，虽无繁复布景，却于极简中藏生机，仿佛能感受到猫的呼吸与轻缓的尾摆，尽显写生之妙与文人画的雅致意韵。",[7,23,24,225,27,28,807,808,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d01ae3c172c6d7532860b25005a89da.jpg",[90],{"id":7899,"slug":7900,"title":7901,"dynasty":18,"author":278,"museum":311,"description":7902,"tags":7903,"thumbUrl":7904,"material":139,"size":139,"collection":139,"collections":7905,"showCount":7906,"zanCount":1104,"manualWeight":48,"mainColor":255},227904,"bi-tao-tu-ye-yi-ming-227904","碧桃图页","《碧桃图》是宋代佚名画家创作的一幅绢本设色画，现藏于北京故宫博物院。\n该图绘碧桃两枝，枝上的碧桃花有的吐露盛开，有的含苞欲放。\n花瓣用细笔勾描后多层晕染，富有层次变化和立体感。\n全图用笔精细，设色淡雅，画面虽小，意趣无穷。\n在纨扇面上画红白碧桃两枝，枝上的桃花有的吐露盛开，有的含苞欲放，其花蕾、枝叶互相穿插其间，争奇斗艳，竞相怒放。\n左枝挺干盛开，右枝则斜向争艳，从这两枝繁花簇簇，苞蕾盈枝的描绘中，清香宜人的花味如绢中溢出，感到了春色的浓郁，花木葱郁茂盛的欣欣向荣气象呈现在眼前。\n本幅有：“于”“腾”联珠白文、“阿蒙精赏”朱文。\n宋代的花鸟画，在皇室的倡导下，已发展到了黄金时期。\n对客观物象的观察和描绘已丝丝入微，重“格物、穷理”已成为那一时期花鸟画坛的时尚，花鸟册页是其中的代表。\n该图是散页，已无从查考出处，观其画风，应是南宋初院人作品，是南宋写生作品，画面无款。\n宋人画风崇尚真实自然，在真实中求得词一般的境界。\n该图描绘的是一派春意盎然的景象，表现的是一红一白两枝桃花相互交错，花朵饱满丰盈，枝叶葱郁。\n该图没有繁杂的布势表现，但通过对花、叶、枝及嫩芽的精微生动的描绘，着实传达出春花怒放、春日融融的情意感觉。\n其中，尤以那层层叠叠的花瓣最引人注目，且每个花朵的形态走向各有差异，可以说无论是花朵的局部表现，还是整体的布势都是精彩的。\n该图构图简洁，在许多方面都留有写生的痕迹，比如，花瓣的开合、叶子的正反、刚出的嫩芽等表现，无不鲜活入微。\n然而，这种生活化的写生表现，确丝毫没有影响画家依照情意处理画面平面空间分割的意图。\n可能正是由于这种生活中形状的刺激，使得作者在画面的平面分割中，才采用了扇形分割，扇形成为作品中形状的主基调。\n作品从整体画面的团扇形到每一簇花朵，乃至每一簇叶子都呈各自不同的扇形分割，在这个分割中扇形可谓是变化至极。\n这种扇形能够给人以渐展、开阔的生发感觉，这就吻合了作品的情意内容，即由弱到强的春季桃花的生命气象。\n该图艺术精湛，花枝、花茎、花叶全用双勾。\n勾线细秀，赋色轻清。\n其中花瓣用细笔勾描后多层晕染。\n花叶的筋脉一丝不苟，丝丝入扣，有水分的质感，桃干的勾线，顿挫转折，笔笔中锋，凝重而空灵，富有层次变化和立体感。\n中国美术研究所研究员梁济海：这幅画在艺术手法上与《出水芙蓉》不一样，花枝茎叶全用双勾，不过用笔极为轻细，傅色也很淡雅，碧桃的丰盈、柔嫩和姣好的姿容，形成一种素雅的艺术格调。\n由本幅鉴藏印可知，该图曾经清代鉴藏家于腾收藏，经《中国古代书画目录》第二册著录。\n现藏于北京故宫博物院。",[7,209,23,24,81,27,28,83,264,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492d139f03f73b41512b3e28ecc1aab5.jpg",[],175,{"id":7908,"slug":7909,"title":7910,"dynasty":1483,"author":1484,"museum":311,"description":7911,"tags":7912,"thumbUrl":7913,"material":139,"size":139,"collection":139,"collections":7914,"showCount":7906,"zanCount":1314,"manualWeight":48,"mainColor":49},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[7,209,23,24,25,244,105,106,150,154,263,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],{"id":7916,"slug":7917,"title":7918,"dynasty":18,"author":2039,"museum":20,"description":7919,"tags":7920,"thumbUrl":7924,"material":67,"size":7925,"collection":139,"collections":7926,"showCount":7906,"zanCount":1337,"manualWeight":48,"mainColor":94},221493,"ku-lou-huan-xi-tu-li-song-221493","骷髅幻戏图","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。\n此《骷髅幻戏图》为扇面册页，左侧署有李嵩的名款，画面有“信公珍赏”“会侯珍藏”等多方收藏印章。 [1] 画面中心人物是一戴幞头、穿透明纱袍的大骷髅，席地而坐，左腿曲折着地，左手按左大腿，右腿弓起，右肘支右膝，坐姿十分舒适自便。右手提控一小骷髅，应为提线木偶（傀儡），上下牙列开张，似在说笑。小骷髅即提线木偶（傀儡）右脚着地，左脚抬起，两臂做招手状，很是活泼。小骷髅对面为一小儿，其左手与双足俱着地，昂首伸右臂，似要伸手抓小骷髅，顽皮而好奇。小儿身后为一青年妇人，双手伸出似作阻拦状，表情看似有些干着急。大骷髅身后安坐一青年妇人，半袒胸，怀抱中小儿正食其乳。目光安详，稍侧身，正注视着眼前之事。人物描画十分生动细致，仿佛能听见他们各自的声音。特别是骷髅的造型十分精准。\n对幅有王玄真书黄公望《醉中天》曲：\n没半点皮和肉，有一担苦和愁。傀儡儿还将丝线抽，寻一个小样子把冤 家逗。识破个羞那不羞？呆兀自五里已单堠。\n曲末题署： 至正甲午春三月十日大痴道人作，弟子休休王玄真书，右寄醉中天。\n画幅之核心主题，当为生死转化及其因果轮回。画家将画一分为二，生死各半。左边画一大骷髅，头戴朴头，身着色衣，关节以线穿连，为艺人的演戏傀儡，含有死之意；右边则画一小儿，手足着地，仰首伸臂，带有生之欲。生死既分，却又互相吸引，故画幅中央被大骷髅戏弄的小骷髅，面向小儿，作躬身招呼状。此是戏中之戏，亦是精心之笔。啸髅躯架刻画准确，小儿动态神气表现生动，大骷髅身後，一妇人袒胸露乳，喂哺幼儿，神色不安地注视着骷髅戏婴之情景，与画幅右边神情恐惧、伸手阻拦那趴地小儿的另一妇人恰成对照，呈现一种静与动、思与行的对立。\n此图还存在着三重幻戏结构：一是两个操控，即大骷髅对于小骷髅的操控，无形之手对于大骷髅的操控；二是交相生发的幻术结构，甚至观图者也会不自觉地落入其中；三是各种背反之表现，尤其是观者明、当局者迷，令人难忘。\n构图的黑白市置上，画家将示死气之骷髅衬于密线重墨组成的墩子、货担之前，增添了阴森、黑暗及恐怖的气氛；同时，却将表现生的小儿置于简写的土地及大片空白的背景上，加强了晴朗、光明及欣喜的感觉。\n单纯从笔墨技法上看，李嵩发挥了自己擅于勾勒、界画之才能，线条坚韧扎实，墨色精致细腻。衣纹用线劲利，或纤柔、或飘动、或挺拔，皆依形态动作而生变化。器物用笔工整严细，笔笔送到，不见轻率浮滑。骨骼、肌肤用笔略有差别，前者刚健，凝重，后者圆转，富于弹性。至于浓淡设色，基本为层层渲染，渐次加深浓重程度，直至轮廓空间毕现方止。染工严谨、古雅，颇具宋朝院体画之特色。",[7,27,28,106,7921,4304,7922,300,7923],"骷髅","妇人","怪诞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b944972848e948075643620ba0a8fb.jpg","纵27厘米，横26.3厘米",[],{"id":7928,"slug":7929,"title":7930,"dynasty":18,"author":746,"museum":20,"description":7931,"tags":7932,"thumbUrl":7933,"material":699,"size":7934,"collection":328,"collections":7935,"showCount":7906,"zanCount":48,"manualWeight":48,"mainColor":94},221310,"zhi-ping-tie-su-shi-221310","治平帖","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[7,209,23,24,25,178,244,106,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9babc75fc8a45145c2cd4c01861509d.jpg","纵29.2厘米，横45.2厘米",[328],{"id":7937,"slug":7938,"title":7939,"dynasty":76,"author":7940,"museum":101,"description":7941,"tags":7942,"thumbUrl":7945,"material":123,"size":7946,"collection":44,"collections":7947,"showCount":7906,"zanCount":1314,"manualWeight":48,"mainColor":49},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[7,23,25,28,27,177,29,106,107,108,109,175,34,7943,7944,119,150,31,557,37],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[44,181],{"id":7949,"slug":7950,"title":7951,"dynasty":189,"author":3051,"museum":132,"description":7952,"tags":7953,"thumbUrl":7954,"material":123,"size":139,"collection":90,"collections":7955,"showCount":7906,"zanCount":1337,"manualWeight":48,"mainColor":49},219186,"fu-rong-yuan-yang-tu-qian-xuan-219186","芙蓉鸳鸯图","芙蓉枝蔓自右上垂落，花叶丰腴，白瓣晕染淡红，似含晨露。一对鸳鸯相倚岸汀，羽色层次分明，红喙翠翎与素白绒羽相映，姿态亲昵如诉温情。画面设色温润雅致，绢本底色衬出古雅意蕴，笔墨工细却不刻板，于静谧中藏生机，尽显自然之美与缱绻意趣。枝间花叶错落有致，岸畔草石点缀生姿，整体构图虚实相生，将禽鸟的亲昵与花木的清妍融于一体，传递出恬淡悠然的古典情韵。",[7,209,23,28,27,83,404,2053,229,759,4472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[90,45],{"id":7957,"slug":7958,"title":7959,"dynasty":18,"author":278,"museum":1098,"description":1161,"tags":7960,"thumbUrl":7961,"material":123,"size":7962,"collection":44,"collections":7963,"showCount":7906,"zanCount":48,"manualWeight":48,"mainColor":94},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[7,23,24,25,105,27,244,28,106,59,29,174,107,34,6384,176,4175,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[44],{"id":7965,"slug":7966,"title":7967,"dynasty":99,"author":2902,"museum":206,"description":7968,"tags":7969,"thumbUrl":7970,"material":409,"size":7971,"collection":181,"collections":7972,"showCount":7906,"zanCount":1314,"manualWeight":48,"mainColor":49},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[7,23,24,225,173,177,29,34,466,468,770,1365,1265,37,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[181],{"id":7974,"slug":7975,"title":7976,"dynasty":18,"author":278,"museum":486,"description":7977,"tags":7978,"thumbUrl":7980,"material":40,"size":7981,"collection":139,"collections":7982,"showCount":7983,"zanCount":1104,"manualWeight":48,"mainColor":94},223523,"li-hua-ying-wu-tu-yi-ming-223523","梨花鹦鹉图","画面上满是梨花，雪白的碎片，三种绿色，红顶红嘴鹦鹉站在树枝上，俯身闻着梨花的芬芳。 从技术上讲，梨花被涂成白色，茎是浅绿色； 鹦鹉是用每一根粗毛笔画出来的，丝绸蓬松，身体圆润，非常可爱！",[7,209,23,24,28,27,83,1409,7979,263],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58717acba13d2d5091e6b0c695bb5c0e.jpg","27.6x27.6cm",[],174,{"id":7985,"slug":7986,"title":7987,"dynasty":99,"author":936,"museum":20,"description":7988,"tags":7989,"thumbUrl":7990,"material":40,"size":7991,"collection":44,"collections":7992,"showCount":7983,"zanCount":2209,"manualWeight":48,"mainColor":49},221884,"xi-ying-tu-you-ming-tong-zi-li-fo-tu-chen-hong-shou-221884","戏婴图（又名童子礼佛图）","《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。",[7,23,28,27,106,229,228,243,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa41ef319564f201fad45f52a944993.jpg","纵150厘米，横67.3厘米",[44,45],{"id":7994,"slug":7995,"title":7996,"dynasty":54,"author":485,"museum":206,"description":7997,"tags":7998,"thumbUrl":8004,"material":302,"size":8005,"collection":44,"collections":8006,"showCount":7983,"zanCount":1314,"manualWeight":48,"mainColor":49},221066,"zhi-gong-tu-yan-li-ben-221066","职贡图","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[7,23,24,209,25,28,27,106,7999,150,3900,300,247,8000,8001,8002,436,8003],"异域人物","推车","随从","伞盖","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","纵61.5cm，横191.5cm",[44,45],{"id":8008,"slug":8009,"title":8010,"dynasty":76,"author":8011,"museum":1279,"description":8012,"tags":8013,"thumbUrl":8015,"material":123,"size":8016,"collection":44,"collections":8017,"showCount":7983,"zanCount":1337,"manualWeight":48,"mainColor":49},220442,"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[7,23,24,225,28,27,106,29,264,385,8014,1640,384],"宴乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[44,45],{"id":8019,"slug":8020,"title":8021,"dynasty":54,"author":2451,"museum":447,"description":8022,"tags":8023,"thumbUrl":8024,"material":123,"size":8025,"collection":181,"collections":8026,"showCount":7983,"zanCount":2209,"manualWeight":48,"mainColor":629},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","青绿山水图","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[7,209,23,24,225,26,27,28,104,29,107,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 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代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[7,315,23,24,225,28,27,83,7979,62,384,658,1629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 纸本","128x34",[],{"id":8080,"slug":8081,"title":8082,"dynasty":189,"author":8083,"museum":20,"description":8084,"tags":8085,"thumbUrl":8086,"material":40,"size":8087,"collection":44,"collections":8088,"showCount":8059,"zanCount":1104,"manualWeight":48,"mainColor":49},221827,"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[7,23,27,28,263,106,433,150,282,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[44,45],{"id":8090,"slug":8091,"title":8092,"dynasty":18,"author":446,"museum":20,"description":8093,"tags":8094,"thumbUrl":8095,"material":699,"size":8096,"collection":328,"collections":8097,"showCount":8059,"zanCount":1104,"manualWeight":48,"mainColor":49},220393,"yan-shan-ming-mi-fei-220393","研山铭","《研山铭》与《虹县诗》用力稍过和《多景楼》的颇显急躁相比，此作以闲适纵逸的笔调显示出对所藏研山倍加珍重的得意与自信，点画如刀劈斧斫，气势如虹；粗者大笔如椽，几成块面，如“五、出、极、化”，细者劲似发条，弹槽欲出，如“怪、痕、震”。\n《研山铭》善于在正侧、偃仰、向背、转折、顿挫中形成飘逸超迈的气势、沉着痛快的风格。字的起笔往往颇重，到中间稍轻，遇到转折时提笔侧锋直转而下。捺笔的变化也很多，下笔的着重点有时在起笔，有时在落笔，有时却在一笔的中间，对于较长的横画还有一波三折。勾也富有特色。 侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[7,209,23,24,25,178,173,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[328],{"id":8099,"slug":8100,"title":8101,"dynasty":54,"author":2644,"museum":206,"description":8102,"tags":8103,"thumbUrl":8104,"material":67,"size":8105,"collection":181,"collections":8106,"showCount":8059,"zanCount":1337,"manualWeight":48,"mainColor":49},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[7,23,24,25,173,177,86,178,1775,29,865,108,109,174,1542,175,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[181],{"id":8108,"slug":8109,"title":8110,"dynasty":18,"author":278,"museum":206,"description":8111,"tags":8112,"thumbUrl":8113,"material":123,"size":139,"collection":42,"collections":8114,"showCount":8059,"zanCount":2209,"manualWeight":48,"mainColor":49},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[7,23,24,209,29,27,81,174,106,34,1231,282,5535,229,3711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[42,181],{"id":8116,"slug":8117,"title":1024,"dynasty":18,"author":8118,"museum":1098,"description":8119,"tags":8120,"thumbUrl":8121,"material":123,"size":8122,"collection":44,"collections":8123,"showCount":8059,"zanCount":1337,"manualWeight":48,"mainColor":94},216922,"xiang-shan-jiu-lao-tu-ma-xing-zu-216922","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[7,209,23,25,28,27,106,226,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695cadd81d87bdb7478f46096b1241a9.jpg","27.1x217.2",[44],{"id":8125,"slug":8126,"title":8127,"dynasty":76,"author":336,"museum":311,"description":8128,"tags":8129,"thumbUrl":8133,"material":2164,"size":2165,"collection":139,"collections":8134,"showCount":8135,"zanCount":1337,"manualWeight":48,"mainColor":49},290019,"qian-long-di-sui-chao-xing-le-tu-zhou-lang-shi-ning-290019","乾隆帝岁朝行乐图轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[7,23,225,27,28,104,106,107,115,7577,1365,402,2019,8130,8131,8132],"岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg",[],171,{"id":8137,"slug":8138,"title":8139,"dynasty":204,"author":1733,"museum":311,"description":8140,"tags":8141,"thumbUrl":8142,"material":139,"size":139,"collection":139,"collections":8143,"showCount":8135,"zanCount":441,"manualWeight":48,"mainColor":49},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[7,23,24,225,27,28,106,59,1205,210,34,176,115,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],{"id":8145,"slug":8146,"title":6818,"dynasty":76,"author":1744,"museum":311,"description":2695,"tags":8147,"thumbUrl":8148,"material":712,"size":139,"collection":90,"collections":8149,"showCount":8135,"zanCount":2209,"manualWeight":48,"mainColor":94},223302,"zhu-shi-tu-zhou-zheng-ban-qiao-223302",[7,23,24,225,173,226,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[90,163],{"id":8151,"slug":8152,"title":8153,"dynasty":18,"author":418,"museum":206,"description":8154,"tags":8155,"thumbUrl":8159,"material":67,"size":8160,"collection":328,"collections":8161,"showCount":8135,"zanCount":1104,"manualWeight":48,"mainColor":49},221342,"nong-fang-shi-tie-zhao-ji-221342","秾芳诗帖","南明抗清英雄陈邦彦曾跋赵佶瘦金书《秾芳诗帖》，“宣和书画，超轶千古。此卷以画法作书，脱去笔墨畦径，行间如幽兰丛竹，泠泠作风雨声，真神品也。”既是对这一诗帖的评赞，也是对“瘦金书”的艺术效果很好的概括。",[7,86,622,25,621,911,263,369,8156,8157,8158],"庭","露","霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff429bef1de6af3c93a64b6d6d677d91d.jpg","纵27.2厘米，横265.9厘米",[328],{"id":8163,"slug":8164,"title":8165,"dynasty":18,"author":1395,"museum":206,"description":8166,"tags":8167,"thumbUrl":8168,"material":327,"size":8169,"collection":42,"collections":8170,"showCount":8135,"zanCount":2209,"manualWeight":48,"mainColor":49},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[7,23,24,209,29,106,229,2279,866,177,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[42],{"id":8172,"slug":8173,"title":8174,"dynasty":99,"author":170,"museum":1250,"description":1251,"tags":8175,"thumbUrl":8176,"material":699,"size":1255,"collection":139,"collections":8177,"showCount":8135,"zanCount":48,"manualWeight":48,"mainColor":94},220065,"hu-qiu-shi-er-jing-tu-ce-2-shen-zhou-220065","虎丘十二景图册-2",[7,23,173,177,81,104,29,107,175,106,34,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb0d3e152596b1384655b09d2103c65.jpg",[],{"id":8179,"slug":8180,"title":8181,"dynasty":18,"author":1419,"museum":206,"description":8182,"tags":8183,"thumbUrl":8184,"material":2916,"size":8185,"collection":42,"collections":8186,"showCount":8135,"zanCount":48,"manualWeight":48,"mainColor":94},218868,"he-gan-xu-ge-tu-ma-yuan-218868","河干虚阁图","这幅画描绘了一个站在河岸桂花树下的亭子，远处的柳树岸上有一个雕花的栅栏和一个月亮。这幅画在笔法和形式上都是马远的典型风格。",[7,23,1352,29,104,107,34,176,177,173,27,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78455ff7832d3c26e3468c39f388dd57.jpg","22.1x24.3",[42],{"id":8188,"slug":8189,"title":8190,"dynasty":18,"author":8191,"museum":206,"description":8192,"tags":8193,"thumbUrl":8196,"material":123,"size":139,"collection":44,"collections":8197,"showCount":8135,"zanCount":1337,"manualWeight":48,"mainColor":49},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[7,23,24,25,28,27,106,29,150,34,176,8194,3609,8195,4174,5534,2883],"旌旗","骑兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[44],{"id":8199,"slug":8200,"title":8201,"dynasty":99,"author":170,"museum":20,"description":8202,"tags":8203,"thumbUrl":8204,"material":841,"size":8205,"collection":139,"collections":8206,"showCount":8207,"zanCount":2209,"manualWeight":48,"mainColor":94},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[7,23,24,25,27,29,2352,177,178,86,734,282,175,34,176,770,1267,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":8209,"slug":8210,"title":8211,"dynasty":189,"author":3051,"museum":311,"description":8212,"tags":8213,"thumbUrl":8214,"material":139,"size":139,"collection":139,"collections":8215,"showCount":8207,"zanCount":1104,"manualWeight":48,"mainColor":49},228020,"hua-lan-tu-ye-qian-xuan-228020","花篮图页","棕褐绢底晕开古雅底色，竹编花篮篾条交错，纹理写实朴拙，似可触手可感。篮中群芳错落排布，柔粉芍药舒展娇瓣，乳白月季凝含清韵，朱红小花点染亮色，碧色青叶俯仰生姿，花叶的阴阳向背层次分明。设色妍丽却不浓艳，工笔细绘暗含文人雅意，褪去刻板匠气，将折枝花卉的鲜活生机与花篮的质朴融于方寸之间，把秋日花篮的雅致鲜活定格绢上，晕染出静谧隽永的古典诗意，尽显幽淡雅致的审美意趣。",[7,23,209,27,28,83,62,228,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ef07ac91ee4d635310b37558cfb414.jpg",[],{"id":8217,"slug":8218,"title":8219,"dynasty":76,"author":1473,"museum":311,"description":8220,"tags":8221,"thumbUrl":8222,"material":699,"size":8223,"collection":90,"collections":8224,"showCount":8207,"zanCount":1337,"manualWeight":48,"mainColor":94},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放，红色花朵娇艳欲滴，红花丛中绿叶渐渐长开，一个春天即将到来。",[7,23,24,225,173,27,402,658,1712,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d44ddc3ccfb0f322631c48caa18fc7.jpg","61cmx33cm",[90,45],{"id":8226,"slug":8227,"title":8228,"dynasty":18,"author":676,"museum":1666,"description":8229,"tags":8230,"thumbUrl":8231,"material":4130,"size":8232,"collection":42,"collections":8233,"showCount":8207,"zanCount":1337,"manualWeight":48,"mainColor":49},221409,"wei-mo-ju-shi-xiang-li-gong-lin-221409","维摩居士像","李公麟（149～116），北宋舒州人（今安徽桐城人），宋代杰出画家。\n字伯时,号龙眠居士，(149-116)享年五十七岁。\n熙宁三年(公元17年)进士。\n李龙眠即李公麟，字伯时，安徽桐城人，因桐城有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n元符三年（11）病痹告老，居家乡桐城龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n李公麟做官三十年，也是他的艺术逐渐成熟，成为名画家的时期：这一时期也正是王安石变法失败，转入史称“朋党”之争的时期。\n李公麟和的关系很好，熙宁七年以后，王安石失势，退居，曾与李公麟同游，并赠诗四首，但同时，李公麟和反对王安石的等关系也很密切。\n李公麟和、、等人同是驸马家的座上客。\n他们在王诜家里的聚会曾被纪录在李公麟画的《》（现存各种摹本）中，米芾也为此写了一篇文章。\n他们十几个人在王诜家的花园中饮酒、作诗、写字画画、谈禅、论道等等。\n这是他们交游的第一个时期，是在苏轼被黜，离开汴梁去杭州作官以前。\n元丰二年（公元一○七九年）苏轼因作诗遭祸，陷入险境，王诜也被株连，据说李公麟在街上遇见苏家人，就以扇遮面，因而受到人们的讥笑。\n李公麟和等人第二次交游是在哲宗元祐年间，那时已经去世，正是旧党短期得势，而苏轼又恢复了自己的政治地位的时候，李公麟又画了第二幅《》。\n苏轼和的诗集中载多首赠诗和称赞他作品的诗。\n李公麟对于古代的美术修养极深。\n对古器物和古文字具有知识，曾摹绘古代的铜器并加以考订，他参加了整理皇家收藏的古器物的工作。\n他的父亲李虚一收藏古代画迹很多，他都进行临摹，并且也临摹了很多他人收藏的名迹。\n他保存了很多自己临摹前代名画的副本。\n他的绘画才能，首先表现 在他的题材的多样性上。\n他擅长鞍马、佛像、人物和。\n他在临摹古人名迹中掌握了绘画技法，而越出古人的技法。\n李公麟擅长画马和人物。\n他画的人物，据说能够从外貌上区别出“廊庙馆阁、山林、闾阎臧获、台舆皂隶”等社会各阶层人的特点，并能分别出地域和种族的具体特点，及动作表情的各种具体状态。\n他的艺术创造有生活现实性为基础，所以他敢于追求新的表现。\n他敢于突破前人的定式，画长带观音，飘带长过一身有半，还画过石上卧观音，这些都是他创造的新式样。\n他的创造性还表现 在他对题材的理解上，他画“观自在观音”，不是按照一般流行的坐相，他说“自在在心，不在相”，不必限制于某一固定的坐相，而是另创一种他认为能表现出心情自在的坐相。\n他画的“归去来辞”一诗把表现的重点放在正在思维中的神态上，不在一般化的描写田园松菊等自然风物，而注重描绘“临清流处”——发人深思的流水。\n李公麟画汉代的将军夺了胡人的马逃回来，在马上引弓瞄准追骑，箭锋所指，人马就应弦而倒。\n李公麟自己说，如果是旁人画就要画箭射中追骑了。\n可见李公麟很了解艺术的真实有别于生活的真实，表面上好象不合理，而能产生更强烈的艺术力量。\n他善画人物，尤工画马，称赞他：“龙眠胸中有千驷，不惟画肉兼画骨”。\n《》为其代表作。\n画中五匹大马，由五个人牵引，神采焕发，顾盼惊人。\n用笔简练，马的一举一动，极其细致生动地表现出骏马运动和性情的特征。\n他还发展了“”画法，创造出“扫支粉黛、淡毫清墨”，“不施，而光彩动人”。\n他的作品，保存下来的不多。\n除《》外，尚有《》《》《居士像》《十六小马图》《》《》《》《》《草堂图》《》《明皇演乐图》《农节图》《》《明皇醉归图》《》《汴桥会盟图》《白描罗汉图》《海会图》《》等。\n李公麟画了一幅六七个汉子围在桌旁赌博的《贤己图》，图中人物栩栩如生，其中有一个人伏在桌上，眼盯盆内的骰子，张嘴急呼，这时骰子转到“六”的位置上。\n元符三年（11）告老，居故乡桐城双溪，号龙眠居士。\n他好古博学，善鉴定。\n不仅能画人物鞍马、神仙佛道，也能画花鸟。\n他对传统绘画作过大量的临摹，同时重视写生，敢于独创。\n他的人物能从外貌上区别出身份、地域和性格特点。\n在画法上，他以著称。\n这种善用线描，多不设色的白描，造型准确，神态生动，这样就把传统的线描造型方法推进到一个新的水准。\n对其后代影响很大。\n他画的山水，亦有创格。\n工行、楷书，有晋、宋之风。\n后人论其作画“以立意在先，布置缘饰为次”。\n还长于考古。\n存世作品有《》《临苇偃牧放图》《九歌》《免胄图》《居士像》等图。\n《》，纸本浅设色，纵29.厘米，横22.5厘米。\n现为日本私人收藏。\n李公麟善于画马，“每欲画，必观群马，以尽其态”。\n《》就是李氏根据写生创作的。\n每匹马各有一人牵引。\n人、单线勾出比例准确，动作生动，清晰地表现出肌肉骨骼的结构，身体的重量感、软硬质感，乃至光泽印象，可代表他画的水准。\n尤见画中马匹、人物的生动神态，不愧为传世杰作。\n画后有跋。\n李公麟(149-116)，北宋著名画家。\n字伯时，号龙眠居士。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法 。\n李龙眠即李公麟，字伯时，祖籍舒州（今安徽桐城）， 桐城北乡龙眠山，李公麟归隐于山下，所以又自号龙眠居士或龙眠山人。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、米芾、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n居京师十年不游权贵之门，以访名园荫林为乐。\n元符三年（11）病痹告老，居家乡龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得正传；着色山水追李思训心法；画马过。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n传世作品有《》卷，现藏；《》卷、《维摩演教图》藏故宫博物院；《赤壁图》《蜀川胜概图》流往美国；《莲社图》轴（南宋摹本）藏南京博物院。\n李公麟是北宋时期一位颇具影响的名士，其绘画为当世第一。\n《》第七卷在评论他的作品时赞曰：“（龙眠）尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、、闾阎、臧荻、占舆、皂隶。\n至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。\n贵贱研丑止以肥红瘦黑分之。\n大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。\n”称“其神与万物交，智与百工通”。\n清初大家评李公麟：“自龙眠而后未有其匹，恐前世顾（恺之）、陆（探微）诸人亦所未及也。\n”而邓椿在他的《》里说：“画今古一人而已，以予观之，伯时既出，道玄（）讵容独步。\n”因此，李公麟笔下“扫去粉黛、淡毫轻墨、高雅超逸的画，被后人称为”天下绝艺矣”。\n在中国绘画技法中，线描是最有特色的技法之一，而纯用线条和浓淡墨色描绘实物的白描画法，可以说是线描技法发展的最高、最纯的阶段。\n而李公麟正是在这艺术浪尖上的弄潮儿，他使白描技法成为后人学画所遵从的样板典范，“犹如群龙之首”千百年来代代相传。\n北宋的人物画，其构形技法，到北宋后期为李公麟（149年-116年）发扬光大，线条健拔却有粗细浓淡，构图坚实稳秀而又灵动自然，画面简洁精练，但富有变化；题材广及人物、鞍马、、花鸟，既有真实感，又有文人情趣，而且所作皆不着色，被称作“大师”。\n《》和《》标志着单线勾勒的技法在中国绘画艺术中的巨大成就。\n单线勾勒的写实能力在于它有可能表现对象的形体、质感、量感、运动、空间。\n所以单线勾勒是一种效果明显而高度简洁的描绘技法。\n李公麟是一个卓 越的现实主义艺术的大师。\n他在绘画史上的地位尚有待更细致的分析，他创造了富于概括力的真实而鲜明的艺术形象，他掌握极优美的提炼形象的能力和表现技巧。\n但是他之选取非现实性的题材的倾向和追求一种与的生活密切联系的细腻的趣味，都说明他的艺术中蕴藏了一个危机。\n北宋的人物画，著名者有的《朝元仙仗图》，清秀娴丽，气度恢弘，而其构形技法，到北宋后期为李公麟发扬光大，线条健拔却有粗细浓淡。\n《五马图》为其传世佳作，纸本墨笔，纵29.厘米，横225厘 米，无名款。\n图以白描的手法画了五匹西域进贡给北宋朝廷的骏马，各由一名奚官牵引。\n每匹马后有宋黄庭坚题字，谓马之年龄、进贡时间、马名、收于何厩等，并 跋称为李伯时（公麟）所作。\n五匹马各具美名，令人遐想，依次为：凤头骢、锦膊骢、好头赤、照夜白、满川花，而五位奚官则前三人为西域装束，后两人为汉人。\n五匹马体格健壮，虽毛色不一，姿态各异，但显得驯养有素，极其温顺。\n五个奚官则因身份不同，或骄横，或气盛，或谨慎，或老成，举手投足，无不恰如其分。\n李龙眠画罗汉渡江，凡十有八人。\n一角漫灭，存十五人有半，及童子三人。\n一人值纸坏，仅见腰足。\n一人携杖，衣袂翩然，若将渡而无意者。\n一人凝立远望，开口自语。\n一人跽左足，蹲右足，以手捧膝作缠结状；双屦脱置足旁，回顾微哂。\n一人坐岸上，以手踞地，伸足入水，如测浅深者。\n者九人：一人以手揭衣，一人左手策杖，目皆下视，口呿不合。\n一人脱衣，双手捧之，而承以首。\n一人前其杖，回首视捧衣者。\n两童子首发鬅鬙，共舁一人以渡。\n所舁者，长眉覆颊，而怪伟如秋潭老蛟。\n一人仰面视长眉者。\n一人貌亦老苍，伛偻策杖，去岸无几，若幸其将至者。\n一人附童子背，童子瞪目闭口，以手反负之，若重不能胜者。\n一人貌老过於伛偻者，右足登岸，左足在水，若起未能。\n而已渡者一人，捉其右臂，作势起之。\n老者努其喙，缬纹皆见。\n又一人已渡者，双足尚跣，出其屦将纳之，而仰视石壁，以一指探鼻孔，轩渠自得。\n按：罗汉於佛氏为得道之称，後世所传高僧，犹云「锡飞」、「杯渡」。\n而为渡江，艰辛乃尔，殊可怪也。\n推画者之意，岂以佛氏之作止语默，皆与人同，而世之学佛者，徒求卓诡变幻、可喜可愕之迹，故为此图，以警发之与？昔人谓太清楼所藏吕真人画像，俨若孔、老，与他画师作轻扬状者不同，当即此意。\n的，性质上就是「看图作文」。\n作者体会到李龙眠人物画运笔传神，寓意含蓄的特点，对画面形象的记叙，也多攫住人物的自然神情。\n描写人物虽仅寥寥数语，却能得其精神。\n写方渡的罗汉，那种离岸涉水时敛神屏息的神情，及至中流时勉为其难的神情，去岸不远时庆幸欣喜的神情，描摹细腻，栩栩如生，并且凸显罗汉的不胜其苦。\n至于未渡的五个罗汉（其中一个，因纸坏仅见腰足），也极力描写他们各自不同的神态：一个是临渡而无意，一个是逡巡而观望，一个写出他决心初下的愉悦神情，一个描写入水将渡前的审慎心理。\n对这一组人物的刻意描写，也是为了衬托渡江的艰难。\n已渡者怡然自得的神态，实际上也是对渡江艰难的一种反衬。\n作者对於李龙眠画作「在心不在相」，著重人物内在精神的刻画，可谓深得其旨。\n从52岁辞官归故里之后就再也没有离开过家乡了，最后在故里去世，安葬在县城东南的磐石圩。\n李公麟（149～116），北宋舒州（今安徽桐城）人。\n有“独步中国画坛”、“宋画第一”等美誉。\n关于他的绘画，奇闻逸事颇多。\n传得最广的是他画马。\n公麟的马画得好是出了名的，为了画马，他常常去马厩中一呆就是一天，有一次皇宫御苑来了西域进贡的宝马，他来此画马，画成后，马却死了。\n人都说那马是被公麟摄了精魄去了。\n难怪他的马画得出神入幻。\n东坡有云：“龙眠胸中有千驷，不唯画肉兼画骨。\n”弄得后来管御马的小吏见了公麟就紧张，生怕他来画马，又把马给画死了。\n李公麟除了画画，还是个官员，他在政治上似乎没什么建树，在朝中似乎也是个没派别的人。\n在他做官的时候，正是苏东坡和王安石闹新旧党争的时候，但他既非新党又非旧党，他和苏、王二人都是朋友。\n这也许正是他艺术家气质的表现。\n不过，细数起来，他最要好的朋友还是苏东坡和黄庭坚。\n《苏轼诗选》里面就有《》和《》，这“戏书”和“画马试院”就可看出他们之间的友谊已经超出一般的官场交往，而是至交了。\n三个人都是考官，在科举考试的间隙李公麟画马，苏、黄二人题诗其上，岂不是忙里偷闲，情趣盎然。\n李公麟晚年因为身体不太好，回到了故里桐城龙眠山安度晚年，还建了一处大气的庄园叫做龙眠山庄。",[7,209,23,24,225,243,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","纵91 2厘米，横51 4厘米",[42,44,163],{"id":8235,"slug":8236,"title":1637,"dynasty":18,"author":418,"museum":206,"description":8237,"tags":8238,"thumbUrl":8239,"material":67,"size":8240,"collection":42,"collections":8241,"showCount":8207,"zanCount":2209,"manualWeight":48,"mainColor":49},221331,"wen-hui-tu-zhao-ji-221331","该画作描绘的是文人学者以文会友饮酒赋诗的场景。园林中绿草如茵，雕栏环绕，树木扶疏，九名文士围着坐在桌子的周围，树下立谈的二人，另外有童仆侍从者九人，人物姿态生动有致，呈现出文人学士饮酒赋诗畅谈之景。",[7,23,209,24,28,27,106,34,1114,300,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a52bb2f5e40f63f9d730b696f39f122.jpg","纵184.4厘米，横123.9厘米",[42,181,45],{"id":8243,"slug":8244,"title":8245,"dynasty":54,"author":616,"museum":8246,"description":8247,"tags":8248,"thumbUrl":8249,"material":8250,"size":8251,"collection":328,"collections":8252,"showCount":8207,"zanCount":2209,"manualWeight":48,"mainColor":49},221058,"ji-bo-fu-wen-gao-yan-zhen-qing-221058","祭伯父文稿","原作佚失","《祭伯父文稿》又称《告伯父文稿》，全称《祭伯父濠州刺史文》。自署书于乾元元年(758年) ，行草书，文稿一篇。凡36行，计410字。原刻早佚，见宋《甲秀堂帖》本。",[7,86,178,1115,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2e367d390d29de8fe53845c7e6dd7e.jpg","行草书","410字",[328,2097],{"id":8254,"slug":8255,"title":8256,"dynasty":76,"author":77,"museum":206,"description":1239,"tags":8257,"thumbUrl":8260,"material":27,"size":8261,"collection":90,"collections":8262,"showCount":8207,"zanCount":1337,"manualWeight":48,"mainColor":94},220984,"yin-xing-li-fang-yun-shou-ping-220984","银杏栗房",[7,23,24,81,82,27,28,8258,8259,759,284],"银杏","栗房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79d66c05b6bf9a17cc28bba35d1c764.jpg","50.8厘米",[90,45],{"id":8264,"slug":8265,"title":8266,"dynasty":99,"author":2146,"museum":101,"description":8267,"tags":8268,"thumbUrl":8269,"material":409,"size":8270,"collection":44,"collections":8271,"showCount":8207,"zanCount":350,"manualWeight":48,"mainColor":94},219700,"jiao-ye-shui-nv-tu-tang-yin-219700","蕉叶睡女图","唐寅是明中叶时期重要的人物画家，他多才多艺，不仅擅长画人物画，在文学、山水、花鸟，书法都有卓越的成就。唐寅，字子畏，另字伯虎，晚号六如居士，1470年出生于苏州，卒于1524年，与祝允明、文徵明、徐祯卿并称“吴中四才子”。\n明代仕女画的人物造型在经过魏晋时期的秀骨清像，隋唐的丰肥腴丽，宋元的端庄矜持后，逐渐变为明艳清瘦、削肩狭背。而唐寅作为“明四家”之一，他的仕女画师承唐代传统，飘洒高雅，人物造型优美，细巧秀逸，成为明代仕女画的典型代表。\n唐寅仕女画独特的艺术风格在中国美术史上有一定的地位，其绘画的风格对后世人物画的发展与创作有着重要影响，在各种拍卖会上也经常崭露头角。",[7,23,24,25,244,173,178,263,106,59,6829],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b3649559e91e7d9b4530da531e4c8.jpg","纵20.3cm，横61.0 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高 字的未损坏版本。精美的黑墨水地形图，经裁剪后装在小册子里。虞恭公温彦博碑，又称温彦博碑，立于唐贞观十一年（637年）十月，位于陕西省礼泉县。这块石碑是用纯文字书写的，共有36行77个字符。前言是四行16字的篆书。这块石碑是陕西礼泉昭陵太宗（李世民）墓的陪葬碑之一。\n这块石碑上的书法艺术具有极高的价值，被历代书法家所称道。王虚舟跋曰：“史称欧阳询卒于贞观间，年八十五岁，此碑书于贞观十一年，是率更最晚的作品。复四年，尚有小楷千文，计书此碑，亦已将八十矣。而圆秀膄劲，与《醴泉》、《化度》不殊，宜其特出有唐，为百代模楷也。",[7,86,621,620,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ed2ced78623c5d7dd690f27719b9d0.jpg","18.3x9.2",[328],{"id":8349,"slug":8350,"title":8351,"dynasty":189,"author":278,"museum":311,"description":8352,"tags":8353,"thumbUrl":8354,"material":2164,"size":2165,"collection":139,"collections":8355,"showCount":8356,"zanCount":48,"manualWeight":48,"mainColor":94},228180,"yong-le-gong-bi-hua-chao-yuan-tu-quan-tu-yi-ming-228180","永乐宫壁画朝元图全图","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[7,209,23,24,4472,538,243,27,106,28,8035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876253f354c6f4ded8f8464fd3ee1773.jpg",[],167,{"id":8358,"slug":8359,"title":8360,"dynasty":76,"author":3676,"museum":311,"description":8361,"tags":8362,"thumbUrl":8363,"material":139,"size":139,"collection":139,"collections":8364,"showCount":8356,"zanCount":1337,"manualWeight":48,"mainColor":94},224212,"leng-yan-juan-er-yu-wu-chang-shuo-224212","冷艳捐二玉","此作用笔写意纵逸，水仙以浓淡层次的绿意绘就叶片，线条苍劲舒展，尽显清挺柔韧之姿。白花点缀其间，浓墨点染花心，明暗交织里，将水仙冰肌玉骨的冷艳之气铺陈开来。右侧湖石以泼墨为之，墨色淋漓斑驳，虚实相生间尽显古朴厚重，与水仙的清雅柔润形成刚柔反差。\n全画以书入画，笔力苍浑雅致，借水仙与顽石的组合托物言志，将文人孤傲清逸的品格寄于冷艳花姿中，寥寥数笔便将物象神韵与作者襟怀相融，意韵悠长。",[7,23,24,173,27,400,83,405,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01fb6c3d805917e235f7564f6f357b2.jpg",[],{"id":8366,"slug":8367,"title":2171,"dynasty":76,"author":381,"museum":260,"description":8064,"tags":8368,"thumbUrl":8369,"material":139,"size":139,"collection":139,"collections":8370,"showCount":8356,"zanCount":1009,"manualWeight":48,"mainColor":49},223165,"hua-niao-tu-shen-quan-223165",[7,23,24,225,28,27,83,691,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00ca506998e033f25ccdeadf9498bce.jpg",[],{"id":8372,"slug":8373,"title":8374,"dynasty":99,"author":100,"museum":206,"description":8375,"tags":8376,"thumbUrl":8377,"material":712,"size":8378,"collection":139,"collections":8379,"showCount":8356,"zanCount":2209,"manualWeight":48,"mainColor":94},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[7,23,24,25,28,27,106,34,176,1003,266,86,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","纵22厘米、横311厘米",[],{"id":8381,"slug":8382,"title":8383,"dynasty":204,"author":7615,"museum":206,"description":8384,"tags":8385,"thumbUrl":8386,"material":302,"size":8387,"collection":181,"collections":8388,"showCount":8356,"zanCount":2209,"manualWeight":48,"mainColor":629},221158,"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[7,23,24,225,29,177,27,34,558,466,5727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[181,163],{"id":8390,"slug":8391,"title":8392,"dynasty":76,"author":4192,"museum":8393,"description":8394,"tags":8395,"thumbUrl":8397,"material":409,"size":8398,"collection":163,"collections":8399,"showCount":8356,"zanCount":2209,"manualWeight":48,"mainColor":255},220419,"xi-shan-yin-ju-tu-gong-xian-220419","溪山隐居图","昆仑堂美术馆","画面为宁静秋山，疏林草堂，实中带虚，意境清旷，堪称晚年佳构。上有自题，下有当代名家朱屺瞻鉴藏印。",[7,23,24,225,173,177,29,384,558,3024,8396],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd095417aca99ae94bd643be38542b71.jpg","11×42.5厘米",[163],{"id":8401,"slug":8402,"title":8403,"dynasty":54,"author":8404,"museum":677,"description":8405,"tags":8406,"thumbUrl":8407,"material":123,"size":8408,"collection":44,"collections":8409,"showCount":8356,"zanCount":5,"manualWeight":48,"mainColor":49},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[7,209,23,24,25,243,28,27,244,106,151,150,808,433,2234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[44],{"id":8411,"slug":8412,"title":8413,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":8415,"thumbUrl":8416,"material":2164,"size":2165,"collection":139,"collections":8417,"showCount":8418,"zanCount":2209,"manualWeight":48,"mainColor":94},289650,"qiang-gen-ju-hua-tu-li-zhou-wu-chang-shuo-289650","墙跟菊花图立轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[7,23,225,3567,27,407,229,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e6be5cc946debe5480bb68290241ce.jpg",[],166,{"id":8420,"slug":8421,"title":8422,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":8423,"thumbUrl":8427,"material":67,"size":2225,"collection":139,"collections":8428,"showCount":8418,"zanCount":48,"manualWeight":48,"mainColor":94},288381,"jing-huan-xian-qu-yan-hong-lou-meng-sun-wen-288381","警幻仙曲演红楼梦",[7,23,28,27,106,107,245,59,8424,8425,8426],"红楼题材","神话场景","仙乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa4413a9b7eda96a32622f5f6b8c0eb8.jpg",[],{"id":8430,"slug":8431,"title":8432,"dynasty":8433,"author":278,"museum":311,"description":8434,"tags":8435,"thumbUrl":8438,"material":139,"size":139,"collection":139,"collections":8439,"showCount":8418,"zanCount":1337,"manualWeight":48,"mainColor":94},227072,"shan-xi-xin-zhou-jiu-yuan-gang-bei-chao-mu-zang-bi-hua-shou-lie-tu-juan-di-yi-bi-yi-ming-227072","山西-忻州九原岗北朝墓葬壁画-狩猎图卷-第一壁","南北朝","山西忻州九原岗北朝墓葬壁画，是中国现存面积最大的墓葬狩猎图壁画。总面积约70平方米。\n九原岗北朝墓葬的发掘对研究北朝晚期社会生活、绘画艺术以及中国古代建筑史具有非常重要的意义。",[7,538,27,244,106,150,8436,4778,808,29,384,8437],"虎","狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F746e562d7c6fc482718f06388d4d82d5.jpg",[],{"id":8441,"slug":8442,"title":8443,"dynasty":76,"author":381,"museum":132,"description":8444,"tags":8445,"thumbUrl":8447,"material":573,"size":8448,"collection":90,"collections":8449,"showCount":8418,"zanCount":48,"manualWeight":48,"mainColor":49},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[7,209,23,24,25,28,27,266,83,34,176,136,1028,1628,84,1322,1365,1003,468,558,297,924,8446],"花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","45cm*1600cm",[90,45],{"id":8451,"slug":8452,"title":8453,"dynasty":18,"author":278,"museum":206,"description":8454,"tags":8455,"thumbUrl":8456,"material":123,"size":8457,"collection":90,"collections":8458,"showCount":8459,"zanCount":1009,"manualWeight":48,"mainColor":94},218397,"hua-fu-rong-tu-yi-ming-218397","画芙蓉图","团扇方寸间，芙蓉绰约生姿。粉白花瓣晕染出柔润渐变，似沾晨露未晞，层层叠叠藏着细腻肌理；几枝花苞微绽，欲语还休。墨绿叶片脉络分明，与沉靛底色相映，更衬花的清妍。笔触细腻如丝，既写实又含韵致，不施浓艳却见雍容，将芙蓉的雅致与生机凝于咫尺。淡粉与深青碰撞，似封存宋时清雅气息，每处细节皆藏匠意，尽显宋画含蓄深厚的审美意趣——不喧不躁，却让观者读懂花叶间流动的温柔与生机。",[7,23,24,81,28,27,404,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0930e0b70ec605d49251ad17a09093.jpg","21.0x23.5cm",[90],165,{"id":8461,"slug":8462,"title":8463,"dynasty":99,"author":936,"museum":20,"description":8464,"tags":8465,"thumbUrl":8466,"material":123,"size":8467,"collection":44,"collections":8468,"showCount":8459,"zanCount":1337,"manualWeight":48,"mainColor":49},215041,"sheng-an-zan-hua-tu-chen-hong-shou-215041","升庵簪花图","这幅画是艺术家的艺术杰作。人物夸张的造型，活泼的神态，圆润有力的线条，以及背景中老树的虬枝，进一步强调了主人公不羁的个性，显示了陈洪绶成熟期人物画的典型面貌。",[7,23,209,24,225,28,27,106,865,229,866,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04b11c9f447e25c6cc519aa5697678e.jpg","143.5x64.5",[44],{"id":8470,"slug":8471,"title":8472,"dynasty":5401,"author":8473,"museum":311,"description":8474,"tags":8475,"thumbUrl":8478,"material":2164,"size":2165,"collection":139,"collections":8479,"showCount":8480,"zanCount":1337,"manualWeight":48,"mainColor":629},226521,"guan-jun-tie-zhang-zhi-226521","冠军帖","张芝","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[7,86,2570,25,8476,8477],"古代书法","汉代草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8430773f56eb0dd4f44e420eff83f0b2.jpg",[],164,{"id":8482,"slug":8483,"title":8484,"dynasty":18,"author":418,"museum":206,"description":8485,"tags":8486,"thumbUrl":8487,"material":712,"size":8488,"collection":42,"collections":8489,"showCount":8480,"zanCount":48,"manualWeight":48,"mainColor":49},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[7,23,24,25,28,244,173,83,266,136,781,3899,314,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[42,90,163],{"id":8491,"slug":8492,"title":8493,"dynasty":189,"author":645,"museum":8494,"description":8495,"tags":8496,"thumbUrl":8497,"material":699,"size":8498,"collection":328,"collections":8499,"showCount":8480,"zanCount":1104,"manualWeight":48,"mainColor":94},220845,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[7,209,23,24,25,244,178,5152,243,263,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[328],{"id":8501,"slug":8502,"title":8503,"dynasty":18,"author":278,"museum":206,"description":8504,"tags":8505,"thumbUrl":8509,"material":123,"size":139,"collection":42,"collections":8510,"showCount":8480,"zanCount":1104,"manualWeight":48,"mainColor":49},220204,"bo-gu-tu-yi-ming-220204","博古图","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[7,23,24,27,28,106,403,385,402,8506,300,115,4304,1112,1114,8507,8508,7491],"古物","古玩","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[42,44],{"id":8512,"slug":8513,"title":8514,"dynasty":189,"author":767,"museum":206,"description":8515,"tags":8516,"thumbUrl":8517,"material":409,"size":8518,"collection":163,"collections":8519,"showCount":8480,"zanCount":48,"manualWeight":48,"mainColor":94},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[7,23,24,173,27,177,29,557,34,176,35,468,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[163],{"id":8521,"slug":8522,"title":8523,"dynasty":54,"author":8524,"museum":6182,"description":8525,"tags":8526,"thumbUrl":8527,"material":123,"size":8528,"collection":181,"collections":8529,"showCount":8480,"zanCount":2209,"manualWeight":48,"mainColor":49},218238,"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[7,23,27,29,1775,176,34,108,106,150,175,35,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[181,90],{"id":8531,"slug":8532,"title":8533,"dynasty":18,"author":278,"museum":8534,"description":8535,"tags":8536,"thumbUrl":8538,"material":123,"size":8539,"collection":90,"collections":8540,"showCount":8480,"zanCount":1314,"manualWeight":48,"mainColor":94},216748,"jia-die-tu-ye-yi-ming-216748","蛱蝶图页","辛辛那提艺术博物馆","蛱蝶图页是一幅著名的宋朝绘画，被认为是宋朝早期艺术发展的重要代表作之一。这幅画是由佚名艺术家创作的，其名字尚不为人所知。\n\n蛱蝶图页描绘了一只蛱蝶飞舞的场景，画面上的蛱蝶美丽、优美，表现出轻盈、自然的感觉。画中的蛱蝶身体清晰可见，细腻地描绘了蛱蝶的身体结构和色彩。蛱蝶的翅膀上有精细的花纹，使得整幅画充满了生动的艺术气息。\n\n蛱蝶图页是宋朝绘画发展的一个里程碑，它体现了宋朝早期艺术家对自然界的观察和描绘能力的高超。这幅画也是宋朝艺术史上非常重要的一件作品，被认为是宋朝绘画艺术的重要代表作之一。",[7,209,23,24,1352,4850,28,27,83,512,3295,8537,284],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bde642897008fa269f1fcefa22eeff.jpg","25.4x24.8cm",[90],{"id":8542,"slug":8543,"title":8544,"dynasty":18,"author":278,"museum":8545,"description":8546,"tags":8547,"thumbUrl":8548,"material":123,"size":8549,"collection":90,"collections":8550,"showCount":8480,"zanCount":2209,"manualWeight":48,"mainColor":49},216724,"zhu-que-tu-yi-ming-216724","竹雀图","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[7,209,23,24,1352,28,27,83,226,4541,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[90],{"id":8552,"slug":8553,"title":8554,"dynasty":76,"author":803,"museum":20,"description":8555,"tags":8556,"thumbUrl":8557,"material":573,"size":8558,"collection":139,"collections":8559,"showCount":8560,"zanCount":48,"manualWeight":48,"mainColor":94},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[7,23,24,209,225,27,173,83,136,137,2053,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","纵138厘米，横42厘米",[],163,{"id":8562,"slug":8563,"title":8564,"dynasty":99,"author":278,"museum":2062,"description":6726,"tags":8565,"thumbUrl":8572,"material":538,"size":6731,"collection":139,"collections":8573,"showCount":8560,"zanCount":1337,"manualWeight":48,"mainColor":49},222146,"di-shi-tian-tu-xi-bi-yi-ming-222146","帝释天图西壁",[7,538,23,2158,8566,8567,27,8568,8569,8570,8571,6728],"宗教画","佛教","帝释天","梵天","二十诸天","礼佛护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0d0a32476aca8e67a68883cf52a49c.jpg",[],{"id":8575,"slug":8576,"title":8577,"dynasty":18,"author":418,"museum":260,"description":8578,"tags":8579,"thumbUrl":8580,"material":67,"size":8581,"collection":42,"collections":8582,"showCount":8560,"zanCount":1337,"manualWeight":48,"mainColor":94},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[7,209,23,24,25,28,27,83,402,7979,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[42,90,45],{"id":8584,"slug":8585,"title":8586,"dynasty":189,"author":4251,"museum":132,"description":8587,"tags":8588,"thumbUrl":8589,"material":123,"size":139,"collection":181,"collections":8590,"showCount":8591,"zanCount":1337,"manualWeight":48,"mainColor":49},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[7,23,26,27,105,29,176,34,31,108,174,770,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[181],162,{"id":8593,"slug":8594,"title":8595,"dynasty":99,"author":3869,"museum":1098,"description":8596,"tags":8597,"thumbUrl":8598,"material":123,"size":8599,"collection":90,"collections":8600,"showCount":8591,"zanCount":48,"manualWeight":48,"mainColor":49},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[7,23,209,28,27,1365,2053,266,83,84,866,2310,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[90],{"id":8602,"slug":8603,"title":8604,"dynasty":189,"author":645,"museum":20,"description":646,"tags":8605,"thumbUrl":8607,"material":409,"size":649,"collection":139,"collections":8608,"showCount":8591,"zanCount":48,"manualWeight":48,"mainColor":49},214291,"xiao-kai-luo-shen-fu-ce-2-zhao-meng-fu-214291","小楷洛神赋册-2",[7,24,86,621,8606,81,622],"小楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00df43ff9eb6f3472d958c7858636f68.jpg",[],{"id":8610,"slug":8611,"title":8612,"dynasty":76,"author":963,"museum":311,"description":8613,"tags":8614,"thumbUrl":8615,"material":1271,"size":8616,"collection":163,"collections":8617,"showCount":8618,"zanCount":1104,"manualWeight":48,"mainColor":94},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[7,23,25,173,29,177,86,263,34,558,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纵20厘米，横762厘米",[163],161,{"id":8620,"slug":8621,"title":1732,"dynasty":99,"author":2146,"museum":311,"description":8622,"tags":8623,"thumbUrl":8625,"material":139,"size":139,"collection":44,"collections":8626,"showCount":8618,"zanCount":1314,"manualWeight":48,"mainColor":94},222333,"shi-nv-tu-tang-yin-222333","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[7,23,28,27,263,106,59,229,8624,225],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a1ac006358157f9823c6c6e26a159a.jpg",[44,45],{"id":8628,"slug":8629,"title":8630,"dynasty":18,"author":1395,"museum":206,"description":8631,"tags":8632,"thumbUrl":8633,"material":712,"size":8634,"collection":42,"collections":8635,"showCount":8618,"zanCount":48,"manualWeight":48,"mainColor":94},221496,"zhu-ge-yan-bin-tu-li-tang-221496","竹阁延宾图","此图应为元代画家所绘，大青绿绘远处山峦起伏，陡峭险峻；中部湖面广阔，水面如静；近处树木蓊郁，岸上一处亭台建筑考究，两排并列，回廊延伸，亭内两人倚栏而坐，聊天赏景，不亦乐乎。",[7,23,1352,27,29,177,175,34,106,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac77efdcd38cd2854c5b2b506f96be70.jpg","23.7×20cm",[42,181,45],{"id":8637,"slug":8638,"title":8639,"dynasty":18,"author":8640,"museum":20,"description":8641,"tags":8642,"thumbUrl":8643,"material":1271,"size":8644,"collection":42,"collections":8645,"showCount":8618,"zanCount":1337,"manualWeight":48,"mainColor":94},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[7,23,25,173,1218,177,29,1079,557,37,34,174,36,2748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[42,181,163],{"id":8647,"slug":8648,"title":8649,"dynasty":18,"author":5878,"museum":206,"description":8650,"tags":8651,"thumbUrl":8655,"material":67,"size":8656,"collection":42,"collections":8657,"showCount":8618,"zanCount":1314,"manualWeight":48,"mainColor":49},221380,"huo-lang-tu-su-han-chen-221380","货郎图","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[7,23,209,28,27,106,8652,402,284,64,8653,8654,84],"儿童","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米",[42,44,45],{"id":8659,"slug":8660,"title":8661,"dynasty":18,"author":323,"museum":206,"description":8662,"tags":8663,"thumbUrl":8668,"material":712,"size":8669,"collection":328,"collections":8670,"showCount":8618,"zanCount":1104,"manualWeight":48,"mainColor":255},221272,"song-feng-ge-shi-huang-ting-jian-221272","松风阁诗","松风阁在湖北省鄂州市之西的西山灵泉寺附近，海拔160多米，古称樊山，是当年孙权讲武修文、宴饮祭天的地方。宋徽宗崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，听松涛而成韵。",[7,86,178,263,403,5650,734,8664,8665,8666,8667,3022,3020,385,107],"川","野僧","寒溪","坡道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42961cbb5e0e34b9ca3df7fc4aa599c5.jpg","纵32．8厘米 横219．2厘米",[328],{"id":8672,"slug":8673,"title":8674,"dynasty":18,"author":8675,"museum":56,"description":8676,"tags":8677,"thumbUrl":8678,"material":27,"size":8679,"collection":328,"collections":8680,"showCount":8618,"zanCount":1337,"manualWeight":48,"mainColor":629},221203,"hou-chi-bi-fu-quan-juan-zhao-shen-221203","后赤壁赋全卷","赵昚","由于该作之末没有作者的款识，因此对于书写人是谁这一问题，从元代起就有不同的说法：有人认为是宋徽宗赵佶所书，有人认为是宋高宗赵构之作，还有人认为是宋孝宗赵昚手笔。（注：关于书作者问题，元朝的俞贞木认为是赵佶所书，但遭到了同为元朝人黄本等人的质疑。杨仁恺指出，《后赤壁赋》为赵昚作品，并提出了相关论据。具体详见《关于宋孝宗赵昚的几点考察》，载《杨仁恺书画鉴定集》）赵昚学赵构书法很像，几可乱真。从书写上分析，赵昚作字较之赵构，往往落笔凝重不够，结字略显松懈。检视此卷，正有这样的欠缺。再则，赵昚更喜爱苏轼诗文，因此这件草书《后赤壁赋》卷当出自赵昚之手。\n书法是历代帝王在登基之前的必修课，它关乎一国之君的脸面和尊严。他们学习、接受诗文、书画之类的传统文化，表示出对文化的崇敬和亲近，这样做有利于稳固统治地位。上述徽宗赵佶、高宗赵构、孝宗赵昚即是例证。\n在各种书体的书写中，草书最为简洁洗练。一个十分复杂的汉字，可以简略成几根线条；一 件草书作品，只需连续几个动作，连绵而下，便告成功。如果说楷、隶、篆书行笔舒缓，如端人正襟危坐，那么草书则更具动感，兼能含纳激越之情。可以这么说，人人都能写楷、隶、篆书，但草书绝不会是人人都可以写好的。由于草书省去了许多笔画，使空间结构产生了很大变化，更须理清脉络，这对书家的技巧要求就更高、更精。如果不明草理、不依草法，而任墨成形、信笔为体，就难免会产生失误，作品也就会演变成无法辨识的“天书”。草书书写全然是精神化的漫游，是人精神的一种外现。依此来审视这卷草书，我们就会发现赵昚是具备书写技巧的书法家。他以心灵对草书作出深刻体验，使性情与功力相得益彰。\n在南宋，以赵构为中心，学习书法风气甚浓，成为小朝廷“中兴”的一种点缀。赵昚受这种气氛的影响，爱好书法也是理所当然的事。他曾自称“无他嗜好，或得暇，惟读书写字为娱”（马宗霍《书林纪事》）。在书法上，赵昚秉承家法，并有机会得到赵构的亲授，故明陶宗仪在《书史会要》中说：“孝宗书有家庭法度。”这件草书《后赤壁赋》卷结字循规蹈矩，草法纯熟而严谨，笔画秀劲匀整，笔意圆润，行笔圆转流畅，又具有沉着遒劲的韵致，颇具流畅而能浑厚、飞动而兼沉着之美。作品通篇气象浑穆，一气呵成，可见书者书写时神完气足、兴致清畅。面对此作，我们仿佛看到赵昚把笔濡墨，在那一段磁青绢上舒心挥毫，营造出一片春云浮空、卷舒起伏、变化多端的图景。此作虽为草书，读之却使人感受到不温不火、从容自如的大将风范。赵昚书法无连绵苟且之习，用笔起讫分明，笔笔清楚，字字独立而气脉连贯，易于辨识。我们可以从中抽出单个的字来一一欣赏，即便脱离整幅的语言环境也不碍观瞻。赵昚此卷有自家面貌，但也渊源有自，从笔意、字势中均可看到唐、宋书家对他的影响。注重法度是赵昚书法之长，这与苏轼主张“真生行，行生草，真如立，行如行，草如走，未有未能行立而能走者”是一致的。世云“唐人尚法，宋人尚意”，是就唐与宋的整体书风而言的；倘若专论草书，宋人也是“尚法”的。赵昚书法即可印证这一点。",[7,25,86,24,178,1163,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cd876766aeb129bded31c4aa34e7c0.jpg","26.9x621",[328],{"id":8682,"slug":8683,"title":8684,"dynasty":189,"author":645,"museum":78,"description":8685,"tags":8686,"thumbUrl":8689,"material":67,"size":8690,"collection":328,"collections":8691,"showCount":8618,"zanCount":1104,"manualWeight":48,"mainColor":94},220848,"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[7,25,86,178,174,3620,285,8687,3019,734,62,8688,435,263],"秋风","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[328],{"id":8693,"slug":8694,"title":8695,"dynasty":189,"author":645,"museum":447,"description":8696,"tags":8697,"thumbUrl":8698,"material":123,"size":8699,"collection":90,"collections":8700,"showCount":8618,"zanCount":1337,"manualWeight":48,"mainColor":49},219098,"shi-ma-tu-zhao-meng-fu-219098","十马图","群马姿态各异，或昂首伫立，或低头啮草，或相互亲昵，动静交织间满溢生机。线条勾勒细腻传神，鬃毛飘逸如丝缕，马尾垂落似流瀑，马匹肌理与灵动之态毕现。设色淡雅温润，赭墨晕染出毛色层次，古朴绢底衬得画面沉静雅致。马匹互动自然和谐，似能闻蹄声轻响，尽显画家对生命的细致体察与文人画的清逸韵味。",[7,23,24,25,28,27,150,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7681aecb61572b4fba7da83735ac45.jpg","纵26横233厘米",[90],{"id":8702,"slug":8703,"title":8704,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":8705,"thumbUrl":8706,"material":2164,"size":2165,"collection":139,"collections":8707,"showCount":8708,"zanCount":48,"manualWeight":48,"mainColor":94},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图",[7,209,23,24,225,173,83,806,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e433e949bf49ac3086bddbbf9d0c776.jpg",[],160,{"id":8710,"slug":8711,"title":8712,"dynasty":18,"author":708,"museum":20,"description":8713,"tags":8714,"thumbUrl":8716,"material":527,"size":8717,"collection":42,"collections":8718,"showCount":8708,"zanCount":48,"manualWeight":48,"mainColor":49},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[7,23,24,173,27,177,29,1775,8715,174,865,176,31,34],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[42,181,163],{"id":8720,"slug":8721,"title":8722,"dynasty":949,"author":3807,"museum":3808,"description":8723,"tags":8724,"thumbUrl":8732,"material":8733,"size":139,"collection":139,"collections":8734,"showCount":8708,"zanCount":48,"manualWeight":48,"mainColor":94},220562,"yu-gong-yi-shan-xu-bei-hong-220562","愚公移山","以写实功底刻画出虬结如顽石的肌肉块垒，赤裸壮汉们挥锄蓄力，将千钧蛮力凝于舒展躯体之中，把移山的不屈意志具象为滚烫血肉。\n\n妇孺老者静立一侧，沉静目光藏着世代赓续的执念，缓行的大象驮负薪粮，为磅礴劳作添上一缕质朴烟火气。\n\n画作融西法解剖与东方水墨晕染于一体，让古老神话走出传说，将坚韧不拔的信念，化作眼前可视的磅礴群像，刻进民族骨血里的韧劲儿跃然绢素之上。",[7,23,27,8725,106,8726,151,8727,8728,8000,8729,8730,8731,5738,8652],"写实","大象","农具","竹篮","土地","壮汉","老人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f740d7fd7175fb0157e825af787bca.jpg","油彩",[],{"id":8736,"slug":8737,"title":8738,"dynasty":76,"author":381,"museum":56,"description":8739,"tags":8740,"thumbUrl":8741,"material":123,"size":8742,"collection":90,"collections":8743,"showCount":8708,"zanCount":1337,"manualWeight":48,"mainColor":49},219126,"shuang-lu-tu-shen-quan-219126","双鹿图","这幅画描绘了在秋季深山里，一对野鹿的生活状态。画面右边是高山悬崖的一段，崖壁上生长着盘如巨龙的古松，虽饱经风霜，仍然枝叶繁茂，粗大的树干上缠绕着藤本植物，从松、藤之间的上部缝隙里，可以看到一条瀑布，它穿过树叶的遮挡，飞流直下，形成巨大的水流，与画面下部的小溪相互呼应。悬崖的左边大幅留白，虽然没有具体描绘，应该能想象为山谷中弥漫着的雾气，在此处取得了无胜于有的效果。上述描绘景色，构成了本幅画的背景，说明了双鹿活动的大环境。双鹿为一公一母，一站一卧，它们伸长了耳朵正在倾听，身处深山老林，时刻保持高度警惕，这幅画正是描绘了这一刻的动态。双鹿周围，是一些正在盛开的白色野菊，山坡间生长着一丛丛色彩暗淡的野草，较好地表明了野草即将衰败、天气已届深秋。",[7,23,209,28,27,808,4778,29,34,4272,466,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c88b537cee852bc63fd476f497b04f.jpg","120x50.5cm",[90],{"id":8745,"slug":8746,"title":8747,"dynasty":18,"author":3466,"museum":8748,"description":8749,"tags":8750,"thumbUrl":8751,"material":409,"size":8752,"collection":90,"collections":8753,"showCount":8708,"zanCount":1104,"manualWeight":48,"mainColor":94},216941,"fei-cui-ji-ling-tu-mu-xi-216941","翡翠鹡鸰图","日本MOA美术馆","翡翠鹡鸰图是宋朝画家牧溪的一幅著名作品。这幅画的主题是一只鹡鸰坐在一棵松树上，周围是密密麻麻的松枝和松针。画面上方是一片蓝天和白云。整幅画表现了牧溪独特的写实主义画风，细腻的线条和精确的造型使得画面栩栩如生。翡翠鹡鸰图被认为是牧溪的代表作之一，也是宋朝画风的典范。",[7,23,173,83,263,400,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5813acf30d16cb9177b3dd4d6e6c3b.jpg","79x31cm",[90],{"id":8755,"slug":8756,"title":8757,"dynasty":76,"author":1563,"museum":206,"description":8758,"tags":8759,"thumbUrl":8762,"material":88,"size":8763,"collection":44,"collections":8764,"showCount":8708,"zanCount":48,"manualWeight":48,"mainColor":94},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[7,23,24,27,173,400,106,1322,229,3157,8760,386,263,6353,176,8761],"伞","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[44],{"id":8766,"slug":8767,"title":8768,"dynasty":18,"author":8769,"museum":8770,"description":8771,"tags":8772,"thumbUrl":8773,"material":327,"size":139,"collection":44,"collections":8774,"showCount":8708,"zanCount":48,"manualWeight":48,"mainColor":94},214651,"bu-dai-he-shang-tu-hu-zhi-fu-214651","布袋和尚图","胡直夫","日本京都野村博物馆","这是一幅简单的佛教僧侣回望尘世并返回斗室宫的画作。南宋画家胡直夫主要活跃在宋末元初，从事山水和人物画创作。他的白描技术来自于李公麟，他的笔触强而有力。他的人字形线描继续出现在后来的一般佛教色彩画中，并成为道教和佛教主题人物的一种特殊风格。他的大部分画作现在都被日本人收藏了。这幅画得到了景山比丘如燕的赞许。",[7,23,24,225,244,173,243,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093d29532ba9d45dca29e6f299658810.jpg",[44],{"id":8776,"slug":8777,"title":8778,"dynasty":54,"author":278,"museum":206,"description":8779,"tags":8780,"thumbUrl":8783,"material":123,"size":4087,"collection":44,"collections":8784,"showCount":8785,"zanCount":1337,"manualWeight":48,"mainColor":49},288360,"gong-le-tu-yi-ming-288360","宫乐图","本图描写后宫嫔妃十人,围坐于一张巨型的方桌四周,有的品茗,有的在行酒令。中央四人,则负责吹乐助兴。所持用的乐器,自右而左,分别为筚篥、琵琶、古筝与笙。",[7,23,24,27,28,106,59,1205,210,807,8781,8782],"宫廷宴乐","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39857b914581e42221c8c2d3a920666e.jpg",[44],159,{"id":8787,"slug":8788,"title":8789,"dynasty":76,"author":1047,"museum":311,"description":8790,"tags":8791,"thumbUrl":8792,"material":2164,"size":2165,"collection":139,"collections":8793,"showCount":8785,"zanCount":48,"manualWeight":48,"mainColor":94},288133,"gu-mu-shuang-ying-tu-zhu-da-288133","古木双鹰图","前一时期题款中常见的“八大山人画”的“画”字，此时已经改为“写”字，这是画家后期典型的写法，而双鹰也是晚期常见的绘画题材。作为画面主体的双鹰憩息于盘石之上，一瑟索凝伫，一神情如铸，外形与神情均十分到位，笔墨造型上几乎无懈可击。不过与先贤林良有所不同的是，画家似乎并不仅仅着意于对禽鸟状貌的真实再现，作为画家笔下的一个艺术符号，它们更多传达的是孤傲荒寒的心灵感悟。画面背景古木寒槎，虬干疏枝，树身用劲笔复笔，益见沧桑枯寂之感。下方盘石内方外圆，危如累卵，益增险仄之势。画家借助古木、怪石这些元代大师们常绘的主题，辅以静默凝重的禽鸟，暗示出生命的枯涸风蚀，苛刻寂寥，笔墨极简而意境丰满，元气充溢，体现了凝重、冷峻、朗润、含蓄、静谧的艺术特征。",[7,23,209,173,83,225,4451,5174,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8855abe2ec0d96961f6c1c6e272c49d6.jpg",[],{"id":8795,"slug":8796,"title":8797,"dynasty":99,"author":862,"museum":206,"description":8798,"tags":8799,"thumbUrl":8800,"material":67,"size":8801,"collection":181,"collections":8802,"showCount":8785,"zanCount":1314,"manualWeight":48,"mainColor":49},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[7,23,225,26,27,177,29,3596,7002,176,109,108,106,1365,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[181,45],{"id":8804,"slug":8805,"title":8806,"dynasty":189,"author":645,"museum":20,"description":8807,"tags":8808,"thumbUrl":8809,"material":699,"size":8810,"collection":328,"collections":8811,"showCount":8785,"zanCount":1314,"manualWeight":48,"mainColor":94},220841,"huang-ting-jing-zhao-meng-fu-220841","黄庭经","《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。《黄庭经》引，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开朗之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》， 因此，又俗称《换鹅帖》，无款，末署“永和十二年（356）五月”，现今留传的只是后世的摹刻本了。",[7,86,5152,621,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a6a4cd3ec1c6039daa34a804981861.jpg","26.5X485.4cm",[328],{"id":8813,"slug":8814,"title":8815,"dynasty":18,"author":1793,"museum":1098,"description":8816,"tags":8817,"thumbUrl":8818,"material":123,"size":8819,"collection":44,"collections":8820,"showCount":8785,"zanCount":48,"manualWeight":48,"mainColor":49},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[7,23,209,24,225,173,177,29,106,1365,176,466,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[44,42],{"id":8822,"slug":8823,"title":8824,"dynasty":18,"author":1419,"museum":101,"description":8825,"tags":8826,"thumbUrl":8827,"material":327,"size":139,"collection":181,"collections":8828,"showCount":8785,"zanCount":1337,"manualWeight":48,"mainColor":49},218590,"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[7,23,209,225,173,177,29,175,1365,106,176,35,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg",[181],{"id":8830,"slug":8831,"title":8832,"dynasty":76,"author":963,"museum":447,"description":964,"tags":8833,"thumbUrl":8834,"material":88,"size":969,"collection":139,"collections":8835,"showCount":8785,"zanCount":48,"manualWeight":48,"mainColor":94},214891,"shan-shui-tu-ce-2-shi-tao-214891","山水图册-2",[7,23,173,177,81,29,109,174,4970,34,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd319f48bef574dd573647e67866a3b95.jpg",[],{"id":8837,"slug":8838,"title":8839,"dynasty":18,"author":1395,"museum":311,"description":8840,"tags":8841,"thumbUrl":8842,"material":139,"size":139,"collection":139,"collections":8843,"showCount":8844,"zanCount":2209,"manualWeight":48,"mainColor":94},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[7,23,209,25,24,27,177,106,29,1365,176,34,468,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":8846,"slug":8847,"title":8848,"dynasty":99,"author":170,"museum":311,"description":8849,"tags":8850,"thumbUrl":8851,"material":699,"size":8852,"collection":181,"collections":8853,"showCount":8844,"zanCount":1337,"manualWeight":48,"mainColor":94},222121,"shi-zhu-tu-shen-zhou-222121","石竹图","石竹图，设色淡雅清幽，线条笔墨饱满有力，将竹的青翠挺拔，山石的坚硬如数展现，为其传世不多的佳品。画面中的竹、石、树体现了生物的灵气，体现了作者心灵与天地共呼吸，随悠云自来往的悠然心境。虽然整幅画面仅有很少的景物，但是作者的心境已经很自然的流露出来。 沈周在画中题识：“石丈有芳姿，此君无俗气。其中佳趣多，容我自来去。”",[7,209,23,24,173,177,229,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[181,163],{"id":8855,"slug":8856,"title":8857,"dynasty":99,"author":817,"museum":56,"description":8858,"tags":8859,"thumbUrl":8860,"material":527,"size":8861,"collection":181,"collections":8862,"showCount":8844,"zanCount":1337,"manualWeight":48,"mainColor":49},221994,"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[7,23,29,734,282,384,27,25,400,699,1755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纵23厘米，横578.3厘米",[181,45],{"id":8864,"slug":8865,"title":8866,"dynasty":99,"author":936,"museum":20,"description":8867,"tags":8868,"thumbUrl":8872,"material":573,"size":7991,"collection":181,"collections":8873,"showCount":8874,"zanCount":48,"manualWeight":48,"mainColor":94},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[7,209,23,24,225,27,28,106,228,136,8869,8870,8871,586],"衣袍","石桌","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg",[181],157,{"id":8876,"slug":8877,"title":8878,"dynasty":18,"author":8879,"museum":1666,"description":8880,"tags":8881,"thumbUrl":8882,"material":67,"size":8883,"collection":42,"collections":8884,"showCount":8874,"zanCount":1104,"manualWeight":48,"mainColor":49},221464,"tu-tu-sun-long-221464","兔图","孙隆","孙隆（生卒年未详），一作孙龙，字纵吉，又字廷振，号都痴，武进（今江苏常州）人。开国忠愍侯孙兴祖之孙，宣德(1426-1435)间入值内廷，曾为“金门侍御”(翰林待诏)。生性颖敏，有仙人风度。工画花鸟，得徐熙、赵昌“没骨图法”，所绘禽鱼草虫不先勾勒定形而直接以色彩点染物象，此一画技可谓另开蹊径，自成一家，丰富了花鸟画传统技法，对后世泼彩写意影响深远。亦擅山水，宗宋代米芾、米友仁父子。从艺活动约在永乐、宣德、正统间，与林良(1416-1480)同时。传世作品有《雪禽梅竹图》轴、《芙蓉游鹅图》轴，现藏故宫博物院；《花鸟草虫图》卷藏吉林省博物馆；《花鸟草虫图册》十二页藏上海博物馆；《牡丹图》册页藏辽宁省博物馆。",[7,23,24,2042,27,28,808,2234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ec09cc9935e1e2fa5e683514485bfa.jpg","21.2×27.0",[42,90,45],{"id":8886,"slug":8887,"title":8888,"dynasty":99,"author":170,"museum":1250,"description":1251,"tags":8889,"thumbUrl":8890,"material":699,"size":1255,"collection":139,"collections":8891,"showCount":8874,"zanCount":48,"manualWeight":48,"mainColor":255},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12",[7,23,24,81,173,177,29,106,175,866,558,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg",[],{"id":8893,"slug":8894,"title":8895,"dynasty":18,"author":418,"museum":8896,"description":8897,"tags":8898,"thumbUrl":8899,"material":123,"size":8900,"collection":90,"collections":8901,"showCount":8874,"zanCount":1104,"manualWeight":48,"mainColor":49},219170,"la-mei-shuang-qin-tu-zhao-ji-219170","腊梅双禽图","四川博物馆","描绘两只山雀栖止于梅树枝头，梅花含苞欲放，仅一朵绽开花蕾。梅之清韵与枝头的小鸟相映成趣，花鸟优美动人。全画以细劲的笔致、单纯秀雅的色调精妙入微地刻画花鸟形象，梅花轻柔美丽，山雀毛羽似泛光泽，其情态特征精细入微。",[7,209,23,24,28,27,83,402,370,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ef81c59e68fc11da552ce3e803576c.jpg","纵25.8厘米，横26.1厘米",[90],{"id":8903,"slug":8904,"title":8905,"dynasty":18,"author":3253,"museum":206,"description":8906,"tags":8907,"thumbUrl":8908,"material":123,"size":139,"collection":42,"collections":8909,"showCount":8874,"zanCount":48,"manualWeight":48,"mainColor":94},218747,"zhu-tu-wen-tong-218747","竹图","墨竹挺秀于素绢之上，枝干如铁线盘旋，墨色浓淡交织出老嫩层次。竹叶以“个”“人”形错落铺陈，笔意洒脱却不失矩度，似有风过叶舞之灵韵。文同“胸有成竹”的妙谛在此尽显：每枝每叶皆从心臆而出，无半分迟疑滞涩。老干苍劲如古松，新枝清逸若嫩柳，墨色干湿变化间藏盎然生机。留白处意蕴悠远，仿佛能闻竹间飒飒风声，见月下疏影横斜，将宋时文人画的意境与笔墨之美融于一纸。竹之坚贞与君子风骨相契，画者胸臆借竹抒发，尽展文人画的雅致气韵与精神内核。",[7,209,23,24,173,81,263,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6f635d98c2a3862422c3f72b140031.jpg",[42],{"id":8911,"slug":8912,"title":8913,"dynasty":54,"author":55,"museum":1098,"description":8914,"tags":8915,"thumbUrl":8916,"material":123,"size":8917,"collection":44,"collections":8918,"showCount":8874,"zanCount":2209,"manualWeight":48,"mainColor":629},218270,"wei-mo-yan-jiao-tu-zhou-fang-218270","维摩演教图","文殊菩萨和维摩诘一直是绘画的常见主题。这幅画在一个宏大而丰富的场景中展示了大量的人物。在这幅画中，弟子们和文殊菩萨的马聚集在寺庙前，一位天女乘云而起，在寺庙中央，维摩诘和文殊菩萨在沙发上正在进行辩论。虽然画家也试图再现维摩诘的 清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[7,23,28,27,243,225,106,107,34,176,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[44],{"id":8920,"slug":8921,"title":8922,"dynasty":99,"author":100,"museum":20,"description":8923,"tags":8924,"thumbUrl":8927,"material":40,"size":8928,"collection":181,"collections":8929,"showCount":8930,"zanCount":1337,"manualWeight":48,"mainColor":94},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[7,23,24,209,225,27,28,29,34,35,8925,109,174,263,8926],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[181,45],156,{"id":8932,"slug":8933,"title":8934,"dynasty":189,"author":7203,"museum":101,"description":8935,"tags":8936,"thumbUrl":8937,"material":3812,"size":8938,"collection":181,"collections":8939,"showCount":8930,"zanCount":2209,"manualWeight":48,"mainColor":94},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[7,23,24,25,173,177,29,226,385,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纵25.7厘米，横380厘米",[181,163],{"id":8941,"slug":8942,"title":1879,"dynasty":76,"author":77,"museum":206,"description":8943,"tags":8944,"thumbUrl":8945,"material":712,"size":1883,"collection":90,"collections":8946,"showCount":8930,"zanCount":48,"manualWeight":48,"mainColor":94},220977,"hua-hui-shan-shui-he-ce-yun-shou-ping-220977","初工山水，笔墨秀峭，后与王翚交往，多作花卉，重视写生，往往用水墨淡彩，清润明丽，自成一格，有“恽派”之称。\n人称其笔有仙气，与王时敏、王鉴、王翚、王原祁、吴历齐名，为“清初六大家”之一。",[7,23,24,209,81,27,82,83,369,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f579f145d671f95c77813259add473.jpg",[90,45],{"id":8948,"slug":8949,"title":8950,"dynasty":189,"author":645,"museum":8951,"description":8952,"tags":8953,"thumbUrl":8962,"material":699,"size":8963,"collection":328,"collections":8964,"showCount":8930,"zanCount":1314,"manualWeight":48,"mainColor":94},220890,"lou-shi-ming-zhao-meng-fu-220890","陋室铭","广东省博物馆","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[7,86,178,2547,8954,8955,734,282,433,8956,5310,8957,8958,8959,8960,8961],"笔法圆润","结体秀逸","仙","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纵49厘米、横131厘米",[328],{"id":8966,"slug":8967,"title":8968,"dynasty":189,"author":1539,"museum":191,"description":8969,"tags":8970,"thumbUrl":8971,"material":699,"size":8972,"collection":163,"collections":8973,"showCount":8930,"zanCount":2209,"manualWeight":48,"mainColor":49},220777,"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[7,209,23,173,177,400,451,226,385,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纵103.3厘米 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横25.7厘米",[42],{"id":9068,"slug":9069,"title":9070,"dynasty":99,"author":170,"museum":20,"description":9071,"tags":9072,"thumbUrl":9074,"material":88,"size":9075,"collection":181,"collections":9076,"showCount":9056,"zanCount":48,"manualWeight":48,"mainColor":255},219865,"yun-shan-tu-shen-zhou-219865","云山图","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[7,23,173,29,177,225,34,37,176,31,175,1265,3710,9073],"小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[181],{"id":9078,"slug":9079,"title":9080,"dynasty":18,"author":2039,"museum":206,"description":9081,"tags":9082,"thumbUrl":9083,"material":123,"size":9084,"collection":42,"collections":9085,"showCount":9056,"zanCount":1104,"manualWeight":48,"mainColor":94},218926,"tian-zhong-shui-xi-tu-li-song-218926","天中水戏图","这幅画表现的是一艘用金色画成的巨大龙舟，上面有雕梁画栋和花窗装饰，宏伟而精致。龙头高耸，眉毛突出，张牙舞爪，舌头张开，船身密布鳞片，船尾高度弯曲上翘，给人一种威严的形象。",[7,23,209,24,81,104,27,28,107,433,1755,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cc9b39f9dfd96d1ccdd35955b36a94.jpg","24.5x25.1",[42],{"id":9087,"slug":9088,"title":9089,"dynasty":76,"author":9090,"museum":311,"description":9091,"tags":9092,"thumbUrl":9095,"material":2164,"size":2165,"collection":139,"collections":9096,"showCount":9097,"zanCount":1009,"manualWeight":48,"mainColor":94},288274,"du-mu-shi-yi-tu-li-zhou-zou-yi-gui-288274","杜牧诗意图立轴","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[7,209,23,24,225,83,28,27,84,451,9093,9094],"顽石","竹草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedd022cd80eec5e9b9f4773b20b52dd.jpg",[],153,{"id":9099,"slug":9100,"title":986,"dynasty":18,"author":278,"museum":20,"description":9101,"tags":9102,"thumbUrl":9104,"material":699,"size":9105,"collection":139,"collections":9106,"showCount":9097,"zanCount":1104,"manualWeight":48,"mainColor":94},231540,"bai-hua-tu-juan-yi-ming-231540","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[7,209,23,24,25,28,27,83,9103,512,696,370,369,404,264,691],"百花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纵31.5厘米、横1679.5厘米",[],{"id":9108,"slug":9109,"title":3005,"dynasty":18,"author":278,"museum":311,"description":9110,"tags":9111,"thumbUrl":9112,"material":573,"size":9113,"collection":139,"collections":9114,"showCount":9097,"zanCount":48,"manualWeight":48,"mainColor":49},223466,"hua-lan-tu-yi-ming-223466","笔重，小花篮五彩，竹篮内荷花兰花盛开，竹丝，趋瘦高大，工笔画重，小花篮 满丝，钥匙空，露出荷花； 荷花自然展开，片片白红相间，娇艳欲滴，犹如荷花的芬芳。 这张图强调颜色，勾勒出图案，是素描笔画的一个很好的例子。",[7,209,23,24,28,27,83,228,406,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed81165b01055d89197d62fd13fc09c.jpg","19.1cm×26.5cm",[],{"id":9116,"slug":9117,"title":9118,"dynasty":76,"author":1744,"museum":311,"description":9119,"tags":9120,"thumbUrl":9121,"material":712,"size":9122,"collection":90,"collections":9123,"showCount":9097,"zanCount":48,"manualWeight":48,"mainColor":94},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[7,209,23,24,225,173,178,263,177,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[90,163],{"id":9125,"slug":9126,"title":9127,"dynasty":18,"author":676,"museum":311,"description":9128,"tags":9129,"thumbUrl":9130,"material":573,"size":9131,"collection":42,"collections":9132,"showCount":9097,"zanCount":48,"manualWeight":48,"mainColor":49},221404,"bai-miao-shi-nv-tu-li-gong-lin-221404","白描仕女图","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[7,23,24,209,244,106,59,107,402,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[42,44,163],{"id":9134,"slug":9135,"title":9136,"dynasty":949,"author":3264,"museum":9137,"description":9138,"tags":9139,"thumbUrl":9140,"material":527,"size":139,"collection":139,"collections":9141,"showCount":9097,"zanCount":48,"manualWeight":48,"mainColor":94},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","中国现当代美术文献研究中心","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[7,23,24,225,27,173,177,29,558,109,386,34,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":9143,"slug":9144,"title":9145,"dynasty":99,"author":2146,"museum":101,"description":9146,"tags":9147,"thumbUrl":9148,"material":123,"size":9149,"collection":181,"collections":9150,"showCount":9097,"zanCount":1337,"manualWeight":48,"mainColor":49},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[7,23,24,25,173,27,29,28,177,178,263,108,109,175,107,174,266,106,866,867,1422,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[181,45],{"id":9152,"slug":9153,"title":9154,"dynasty":18,"author":461,"museum":78,"description":9155,"tags":9156,"thumbUrl":9157,"material":409,"size":139,"collection":42,"collections":9158,"showCount":9097,"zanCount":48,"manualWeight":48,"mainColor":629},219928,"wan-jing-tu-fan-kuan-219928","晚景图","此图山峦圆浑高峻，水边巨石垒垒，用密集的小斧劈皴和雨点皴皴染，山顶密植树木。山形和技法的确出于范宽，但是山峦间充满虚渺云雾、远山淡墨一抹以及笔法短促简率等画法，都带有南宋李唐画派的技法因子，画面缺乏范宽那种雄伟森严的气势，应是出于南宋早期继承范宽画风的画家之手。可惜作者姓名佚失，然亦是了解由范宽画风向南宋院体画风递变时期艺术面貌的重要实迹。",[7,23,177,173,29,734,34,558,3620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d38b2ea5d8305bc68e3d6e69a76fe72.jpg",[42],{"id":9160,"slug":9161,"title":9162,"dynasty":189,"author":1988,"museum":101,"description":9163,"tags":9164,"thumbUrl":9165,"material":327,"size":9166,"collection":90,"collections":9167,"showCount":9097,"zanCount":48,"manualWeight":48,"mainColor":49},214295,"han-mei-tu-wang-mian-214295","寒梅图","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[7,23,24,225,173,86,178,402,866,926,1629,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","113x50.2",[90],{"id":9169,"slug":9170,"title":9171,"dynasty":18,"author":9172,"museum":206,"description":9173,"tags":9174,"thumbUrl":9175,"material":409,"size":9176,"collection":328,"collections":9177,"showCount":9097,"zanCount":1337,"manualWeight":48,"mainColor":49},214223,"xing-shu-qi-yan-jue-ju-zhou-wu-ju-214223","行书· 七言绝句轴","吴琚","这首七字诗是根据蔡襄的诗句写的，是宋代罕见的书法作品。吴氏的字俊美优雅，形体和姿态都与米芾一脉相承，但与北宋书法家的作品相比，吴琚的用笔快速有力，偶尔有飞白，显示出南宋书法家更注重渲染上下和整体的主旨，而不是对每个单字的提炼和完善。",[7,209,23,24,225,178,86,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb61b45191b67798358ba3eb2af0473.jpg","98.6x55.3",[328],{"id":9179,"slug":9180,"title":9181,"dynasty":76,"author":1047,"museum":311,"description":9182,"tags":9183,"thumbUrl":9184,"material":139,"size":139,"collection":139,"collections":9185,"showCount":9186,"zanCount":48,"manualWeight":48,"mainColor":49},231001,"song-lu-tu-zhu-da-231001","松鹿图","《松鹿图》纵28厘米，横75厘米，纸本，作者朱耷。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。\n图中画一老松，根浅干高，上粗下细，枝枯叶疏，似病5人躯干，显示出生命的衰弱和意志的消沉。\n树后画一头重脚轻、摇摇欲坠的怪石，石旁画一只形体扭曲、双目圆瞪的鹿，地上是稀少短小的枯草。\n画面布局得当，笔法苍劲，流畅生动，寓意极深。\n《松鹿图》笔墨极简，然简中有味，能在寥寥几笔中传达出许多“余味”，需要极高深的功力和极高尚的笔墨趣味。\n松树取折枝意境，几根墨线，萧条淡泊，闲和严静，画面的萧索反映出他精神世界里的孤寂，完全从八大山人的精神状态中走出，既有文人的雅致，又含着僧人的禅意，还透着些道家的出世散淡，还带着些许皇家的富贵气息。\n此画最大的佳处就在于气息湮润，格调高雅，平淡天真，不着人间烟火气。\n梅花鹿是高雅富贵之物，被视为君子，与八大山人看空世事的情怀有不谋而合之处。\n此外“松鹿题材”也是传统的吉祥题材，“鹿”与“禄”同音，松树象征着高寿，《松鹿图》寄托着福禄长寿的美好寓意。\n八大山人的造诣不仅体现在书画创作和艺术成就上，就连他的精神境界，也是拈花微笑、艺术到家的，这从《松鹿图》的气韵上可见一斑。\n朱耷（1624—175年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『17』，小名耷。\n清顺治五年（1648年）落发为僧，法名传棨。\n一生字、号、别号甚多，有个山、驴屋驴、人屋等。\n康熙二十三年（1684年）始号八大山人。\n坎坷的命运影响着他的人生观及艺术创作思想，其绘画作品中多寄托着对清王朝的痛恨，对明王朝的眷恋之情。\n山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。\n花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。\n晚年署款将自己的号“八大山人”四个字以草书体连缀写，似“哭之”、“笑之”，借此暗寓他面对富于戏剧性变幻的人生，哭笑不得，百般无奈的感慨之情。\n他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。\n书法宗王献之、颜真卿，淳朴圆润，自成一格。\n朱耷中晚年，在书画作品款署中多使用“八大山人”。",[7,23,173,244,225,403,4778,226,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd179297b507ca3cef1bcc70058d3b3d.jpg",[],152,{"id":9188,"slug":9189,"title":9190,"dynasty":189,"author":7354,"museum":311,"description":9191,"tags":9192,"thumbUrl":9195,"material":139,"size":139,"collection":139,"collections":9196,"showCount":9186,"zanCount":1314,"manualWeight":48,"mainColor":49},228054,"bai-mei-tu-shou-juan-wang-zhen-peng-228054","百美图手卷","此作以长卷舒展，仕女群像错落排布，或展卷挥毫、调弦抚琴，或拈花私语、临案观画，尽现闺中清趣。线条细劲如春蚕吐丝，将云鬓花钗、襦裙飘带勾勒得柔婉细腻，仕女顾盼间尽显温婉秀逸之态。设色古雅淡和，赭黄绢底衬得朱蓝粉白衣袂清雅脱俗，与满卷题字错落呼应，诗画相映成趣，将深闺日常的娴静雅意缓缓铺陈，晕染出女子的幽微心绪与雅致韵致，宛如一卷鲜活的闺中清欢图，余韵悠长。",[7,23,24,25,28,27,106,59,63,210,9193,9194],"案几","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff76a94e092ff1a1c143055113ceff3b.jpg",[],{"id":9198,"slug":9199,"title":9200,"dynasty":99,"author":100,"museum":20,"description":1762,"tags":9201,"thumbUrl":9203,"material":40,"size":1766,"collection":139,"collections":9204,"showCount":9186,"zanCount":2209,"manualWeight":48,"mainColor":94},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古",[7,23,24,28,27,106,226,228,4304,7885,115,8506,9202],"品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg",[],{"id":9206,"slug":9207,"title":9208,"dynasty":18,"author":2555,"museum":486,"description":9209,"tags":9210,"thumbUrl":9211,"material":573,"size":4591,"collection":42,"collections":9212,"showCount":9186,"zanCount":1337,"manualWeight":48,"mainColor":49},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[7,23,24,209,28,27,243,106,226,37,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg",[42,44,45],{"id":9214,"slug":9215,"title":9216,"dynasty":18,"author":9217,"museum":206,"description":9218,"tags":9219,"thumbUrl":9220,"material":712,"size":9221,"collection":42,"collections":9222,"showCount":9186,"zanCount":2209,"manualWeight":48,"mainColor":49},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[7,209,23,24,81,173,27,177,29,175,34,174,30,1265,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[42,181],{"id":9224,"slug":9225,"title":9226,"dynasty":949,"author":1940,"museum":1941,"description":9227,"tags":9228,"thumbUrl":9230,"material":139,"size":139,"collection":139,"collections":9231,"showCount":9186,"zanCount":2209,"manualWeight":48,"mainColor":94},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[7,23,24,26,27,29,30,1266,466,37,34,9229,105,177,263],"山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],{"id":9233,"slug":9234,"title":9235,"dynasty":76,"author":1215,"museum":447,"description":9236,"tags":9237,"thumbUrl":9238,"material":409,"size":9239,"collection":181,"collections":9240,"showCount":9186,"zanCount":2209,"manualWeight":48,"mainColor":94},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[7,23,173,225,105,177,29,108,109,34,176,466,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[181],{"id":9242,"slug":9243,"title":9244,"dynasty":76,"author":9090,"museum":9245,"description":9246,"tags":9247,"thumbUrl":9250,"material":123,"size":9251,"collection":90,"collections":9252,"showCount":9186,"zanCount":1337,"manualWeight":48,"mainColor":49},219539,"pan-tao-tu-zou-yi-gui-219539","蟠桃图","承德避暑山庄博物馆","画面两只丹顶鹤立于青石之上姿态悠闲，石隙间画桃树一株硕果累累富有质感，峰峦之间瀑布鞋飞流而下。",[7,23,24,225,28,27,60,9248,176,109,9249,34],"桃","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6b446064c15c3f90edacbf7bbc946c.jpg","166cm×87cm",[90],{"id":9254,"slug":9255,"title":9256,"dynasty":949,"author":950,"museum":132,"description":9257,"tags":9258,"thumbUrl":9262,"material":88,"size":9263,"collection":90,"collections":9264,"showCount":9186,"zanCount":48,"manualWeight":48,"mainColor":94},216934,"deng-shu-zhou-qi-bai-shi-216934","灯鼠轴","案头油灯亮着红芯，剪刀斜倚灯旁，两只灰鼠各有姿态——一只攀柱啃噬灯芯，长尾垂落；一只蹲坐地上，抬首望灯，胡须微颤似嗅暖意。笔墨极简，鼠的憨态却跃然纸上：浓淡墨色晕染出绒绒质感，细长尾巴勾勒灵动，寥寥几笔便捉住鼠的机警与贪馋。灯柱线条稚拙却稳当，红烛芯如点睛之笔，在素净纸面上添了一抹鲜活。题字与画面相映，把日常小景写成逸趣，没有刻意雕琢，却藏着对生活细微处的体察，似在说寻常烟火里也有这般可爱的瞬间。",[7,23,173,27,225,400,9259,9260,9261,228,263,86],"鼠","灯","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1eaa5d9a0084397f64b5881322f7b2d.jpg","67.5x33.5cm",[90],{"id":9266,"slug":9267,"title":9268,"dynasty":204,"author":4074,"museum":206,"description":9269,"tags":9270,"thumbUrl":9271,"material":302,"size":9272,"collection":90,"collections":9273,"showCount":9274,"zanCount":1337,"manualWeight":48,"mainColor":629},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[7,209,23,28,27,83,266,865,229,4272,928,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","纵97厘米，横53.6厘米",[90,45],151,{"id":9276,"slug":9277,"title":9278,"dynasty":76,"author":1215,"museum":583,"description":9279,"tags":9280,"thumbUrl":9281,"material":88,"size":9282,"collection":181,"collections":9283,"showCount":9274,"zanCount":2209,"manualWeight":48,"mainColor":49},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[7,23,27,26,29,105,177,108,109,34,557,35,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg","22.5x27.5",[181],{"id":9285,"slug":9286,"title":9287,"dynasty":54,"author":3797,"museum":132,"description":9288,"tags":9289,"thumbUrl":9290,"material":123,"size":139,"collection":90,"collections":9291,"showCount":9274,"zanCount":2209,"manualWeight":48,"mainColor":49},218745,"ma-xing-tu-han-gan-218745","马性图","骏马昂首伫立，体态劲健挺拔。鬃毛与躯干墨色晕染层次分明，颈间浅褐渐过渡至腰背浓黑，肌理质感毕现。四肢修长稳健，蹄足勾勒简洁有力，似藏奔腾之势。绢本自然龟裂如时光印记，旁侧墨迹题识与朱红印章相映，更添古朴厚重。作品以简练传神之笔，捕捉马的灵动神韵，尽显古典绘画的雅致生机。",[7,23,24,28,27,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F044321ad98ba7228339779ee43a3fc62.jpg",[90],{"id":9293,"slug":9294,"title":4215,"dynasty":18,"author":1419,"museum":311,"description":9295,"tags":9296,"thumbUrl":9299,"material":2164,"size":2165,"collection":139,"collections":9300,"showCount":9301,"zanCount":2209,"manualWeight":48,"mainColor":49},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[7,209,23,25,173,106,29,1365,865,466,176,107,108,109,9297,1755,5816,5187,9298],"竹丛","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],150,{"id":9303,"slug":9304,"title":9305,"dynasty":54,"author":485,"museum":20,"description":9306,"tags":9307,"thumbUrl":9309,"material":1488,"size":9310,"collection":44,"collections":9311,"showCount":9301,"zanCount":1104,"manualWeight":48,"mainColor":49},222242,"suo-jian-tu-juan-yan-li-ben-222242","锁谏图卷","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。\n以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致。",[7,23,24,25,28,27,106,9308,34,176,63,2508,263],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41980eacf357c3e6917c0ffd1915bdef.jpg","纵32厘米，横208厘米",[44,45],{"id":9313,"slug":9314,"title":9315,"dynasty":949,"author":1940,"museum":1941,"description":9316,"tags":9317,"thumbUrl":9318,"material":139,"size":139,"collection":139,"collections":9319,"showCount":9301,"zanCount":2209,"manualWeight":48,"mainColor":94},220492,"zhang-da-qian-liu-yin-shi-nv-tu-zhang-da-qian-220492","张大千柳荫仕女图","仕女眉如远黛，眼含幽绪，樱唇轻抿，鬓发匀整服帖。素色襦裙配云纹领饰，雅致端方，手倚苍润湖石，身姿柔婉，似在春荫下凝伫遐思。旁侧垂柳柔丝纷披，如烟似雾，晕开融融春意，墨竹清劲萧疏，与柳条柔媚相映成趣。\n\n笔墨清圆秀润，设色淡雅明净，细劲线条勾勒出人物妍丽温婉的体态，淡墨晕染出柳色空濛，将闺中女子的闲愁静穆烘托恰到好处，诗画相融，尽现雅致恬和的古典意韵。",[7,23,24,225,27,28,106,59,1322,4272,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe418926e4c8fcd1998df4816716ffb22.jpg",[],{"id":9321,"slug":9322,"title":6171,"dynasty":76,"author":9323,"museum":1279,"description":9324,"tags":9325,"thumbUrl":9326,"material":123,"size":9327,"collection":181,"collections":9328,"showCount":9301,"zanCount":1104,"manualWeight":48,"mainColor":49},218715,"peng-lai-xian-jing-tu-xu-wen-218715","徐玟","这幅青绿山水边框画属于赵伯驹、赵孟頫、仇英一脉，山石皴擦少，傅色细雅，边框画精美。",[7,23,27,104,28,29,107,34,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5656eb494ec10d4f4e9a3529db76a4.jpg","172x100cm",[181],{"id":9330,"slug":9331,"title":2524,"dynasty":76,"author":2525,"museum":311,"description":9332,"tags":9333,"thumbUrl":9334,"material":139,"size":139,"collection":90,"collections":9335,"showCount":9336,"zanCount":1337,"manualWeight":48,"mainColor":94},228929,"hua-hui-hu-die-tu-juan-ma-quan-228929","此卷以没骨法绘就，蝶群翩跹百态各异，翅脉纤毫毕现：或墨色沉凝如漆，或晕染粉白通透，振翅翻飞间灵动宛然。间缀佛手、牡丹与素花，设色清润柔雅，花叶舒展柔媚，衬得蝶群更显鲜活生机。\n\n卷后题笔文辞清丽，笔墨秀雅与画境相融，尽显创作者细腻入微的观察力，将草间花蝶相依的悠然灵趣定格长卷，温婉雅致，意韵盎然，是闺阁花鸟画里的精巧之作。",[7,209,23,24,25,27,28,83,512,84,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906603e4a8bf2dc062465a3550f3584.jpg",[90],149,{"id":9338,"slug":9339,"title":9340,"dynasty":189,"author":645,"museum":20,"description":9341,"tags":9342,"thumbUrl":9344,"material":1271,"size":9345,"collection":181,"collections":9346,"showCount":9336,"zanCount":1337,"manualWeight":48,"mainColor":94},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[7,23,24,25,173,29,178,263,177,734,282,7944,34,31,9343,8925],"山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[181,163],{"id":9348,"slug":9349,"title":9350,"dynasty":76,"author":9351,"museum":447,"description":9352,"tags":9353,"thumbUrl":9354,"material":123,"size":9355,"collection":44,"collections":9356,"showCount":9336,"zanCount":2209,"manualWeight":48,"mainColor":49},218420,"fang-wu-dao-zi-wu-liang-shou-zun-zhe-xiang-li-gen-218420","仿吴道子无量寿尊者像","李根","面容饱满圆润，眉眼含笑间藏着悲悯与智慧，耳垂丰腴垂坠，尽显尊者气度。袈裟层叠厚重，墨黑与棕褐交织的纹理间，露出青绿裙摆，绣纹繁复精致，足见匠心。手中竹杖纹理清晰，似能触到岁月的质感，步履间衣袂轻扬，暗合吴带当风之韵。笔墨流转传神，设色古雅沉静，将尊者的慈悲与自在跃然绢上，尽显传统人物画的传神妙趣，观之令人心生敬意与平和。",[7,23,24,225,243,27,106,105,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3ebcf7aef87cf32d2b60941bb44dc0.jpg","168x83",[44],{"id":9358,"slug":9359,"title":9360,"dynasty":189,"author":278,"museum":20,"description":9361,"tags":9362,"thumbUrl":9363,"material":123,"size":9364,"collection":181,"collections":9365,"showCount":9336,"zanCount":1337,"manualWeight":48,"mainColor":49},214314,"dong-shan-si-zhu-tu-yi-ming-214314","东山丝竹图","此图画东晋谢安东山丝竹故事。\n图绘崇山峻岭，连绵不绝，云雾缭绕，溪流蜿蜒山间。下部绘庭院一座，华屋数楹，院中仕女多抱管弦乐器，院外主人正携仆恭迎远来的贵宾们。全图表现了谢安迎客于东山、丝竹管弦高奏的情节，动态鲜明，仿佛有丝丝乐声流溢而出。而山水佳景清逸幽雅，衬托出主人高逸的情怀。图中人物刻画细腻，画法近于元末盛懋一路，具体作者不得而知。",[7,23,24,27,29,177,106,107,34,109,175,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b23ad1f9ddfe456c8d38d90674e4715.jpg","纵188.5厘米，横103.3厘米",[181],{"id":9367,"slug":9368,"title":4367,"dynasty":76,"author":9369,"museum":9370,"description":9371,"tags":9372,"thumbUrl":9373,"material":9374,"size":9375,"collection":139,"collections":9376,"showCount":9377,"zanCount":2209,"manualWeight":48,"mainColor":94},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","赵之谦","荣宝斋","岁朝图是中国传统绘画的重要题材之一。岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[7,23,24,225,27,173,83,369,227,4370,229,228,263,1163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],148,{"id":9379,"slug":9380,"title":9381,"dynasty":76,"author":3676,"museum":311,"description":9382,"tags":9383,"thumbUrl":9384,"material":841,"size":9385,"collection":90,"collections":9386,"showCount":9377,"zanCount":1314,"manualWeight":48,"mainColor":94},224232,"gui-shou-tu-li-zhou-wu-chang-shuo-224232","贵寿图立轴","此幅描绘含露微嫩的牡丹，亭亭玉立的水仙。牡丹雍容华贵，花瓣层层叠叠，显富贵之意；淡黄色水仙花与嫩绿而修长的叶片，娇艳欲滴；似云似烟的湖石穿插于花卉中，灵动自然。画面题：神仙贵寿。",[7,23,225,83,400,27,369,607,283,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedac561ff78a78041827fca1bcbcc149.jpg","117x35cm",[90,45],{"id":9388,"slug":9389,"title":9390,"dynasty":99,"author":170,"museum":206,"description":9391,"tags":9392,"thumbUrl":9393,"material":88,"size":9394,"collection":181,"collections":9395,"showCount":9377,"zanCount":2209,"manualWeight":48,"mainColor":49},222110,"chun-hua-zhou-jin-zhou-shen-zhou-222110","春华昼锦轴","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[7,23,225,173,177,29,106,150,175,108,109,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbf6040c503cd558417b6c40a9a0b.jpg","278.6x95.7公分、全幅 122公分",[181,163],{"id":9397,"slug":9398,"title":9399,"dynasty":18,"author":8332,"museum":311,"description":9400,"tags":9401,"thumbUrl":9403,"material":67,"size":9404,"collection":42,"collections":9405,"showCount":9377,"zanCount":1104,"manualWeight":48,"mainColor":49},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[7,209,23,24,25,27,28,83,808,2234,266,370,62,6196,737,176,9402],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[42,90,45],{"id":9407,"slug":9408,"title":9409,"dynasty":18,"author":278,"museum":206,"description":9410,"tags":9411,"thumbUrl":9413,"material":88,"size":9414,"collection":42,"collections":9415,"showCount":9377,"zanCount":1104,"manualWeight":48,"mainColor":94},218728,"qiu-gua-tu-yi-ming-218728","秋瓜图","地上长着三个秋瓜，景观中还有藤蔓、树叶和花朵。瓜皮用老绿色着色，瓜棱用赭石填充，精致而有节奏。瓜的叶子被仔细地勾勒出来，藤蔓也是圆润而细致的。这幅画没有刻上作者的名字，但我们收藏的另外两幅画《宋代草木瓜》和《钱玄同秋瓜》在构图上与此框相似，而且此卷的笔法精细，与《宋代草木瓜》相似。",[7,23,24,28,27,83,9412,606,1173,263,81],"秋瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0270d205fb5d6c396d4cfa437041b14a.jpg","26.8x45.5厘米",[42],{"id":9417,"slug":9418,"title":9419,"dynasty":277,"author":278,"museum":311,"description":9420,"tags":9421,"thumbUrl":9422,"material":2164,"size":2165,"collection":139,"collections":9423,"showCount":9424,"zanCount":2209,"manualWeight":48,"mainColor":94},290029,"long-hu-tu-ping-feng-yi-ming-290029","龙虎图屏风","左屏苍龙穿云破浪，墨色晕开翻涌云水，鳞爪张弛间尽显遒劲威严，龙神腾跃于江海云雾，动静间裹挟磅礴气势。右屏玄豹踞于苍松危岩，身姿沉凝雄健，斑纹写实灵动，山涧飞瀑与留白云雾衬出山野幽寂，静穆中暗藏猛兽蛰伏的张力。\n\n整作以水墨晕染写意，留白营造空濛禅意，笔力苍劲老辣，将神兽威仪与山水意境相融，尽显东方水墨走兽画的古典意韵。",[7,23,173,299,433,8436,2279,3191,226,176,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf2facc69f5f4dd4ac4b11950993457.jpg",[],147,{"id":9426,"slug":9427,"title":9428,"dynasty":18,"author":278,"museum":311,"description":9429,"tags":9430,"thumbUrl":9431,"material":2164,"size":2165,"collection":139,"collections":9432,"showCount":9424,"zanCount":1337,"manualWeight":48,"mainColor":49},227839,"qian-shou-guan-yin-li-xiang-yi-ming-227839","千手观音立像","千手观音又称千手千眼观世音、千眼千臂观世音等，是我国民间信仰的四大菩萨之一。千手观音是阿弥陀佛的左胁侍，与阿弥陀佛、大势至菩萨(阿弥陀佛的右胁侍)合称为“西方三圣”。",[7,23,24,225,27,28,243,106,3609,8033,436,3861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be631ea3bf397f44a3c3ff849e91dc8.jpg",[],{"id":9434,"slug":9435,"title":9436,"dynasty":18,"author":3475,"museum":311,"description":9437,"tags":9438,"thumbUrl":9439,"material":139,"size":139,"collection":139,"collections":9440,"showCount":9424,"zanCount":1104,"manualWeight":48,"mainColor":49},227537,"chao-yuan-xian-zhang-tu-quan-tu-wu-zong-yuan-227537","朝元仙仗图全图","《朝元仙仗图》为北宋宗教画家武宗元所绘制的一幅绢本白描长卷，曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。",[7,23,243,244,25,106,107,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20def5f9abc833a0d5a4c488f47d5ad.jpg",[],{"id":9442,"slug":9443,"title":1712,"dynasty":99,"author":5161,"museum":206,"description":9444,"tags":9445,"thumbUrl":9446,"material":699,"size":9447,"collection":139,"collections":9448,"showCount":9424,"zanCount":48,"manualWeight":48,"mainColor":94},222412,"mei-hua-zhou-zhi-mian-222412","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[7,23,24,1352,173,83,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbd89ea65005058bae7f1df5879f312.jpg","58x55.6厘米",[],{"id":9450,"slug":9451,"title":9452,"dynasty":99,"author":278,"museum":206,"description":9453,"tags":9454,"thumbUrl":9455,"material":302,"size":139,"collection":139,"collections":9456,"showCount":9424,"zanCount":2209,"manualWeight":48,"mainColor":94},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","富春山居图子明卷","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[7,23,24,25,173,29,177,86,263,105,734,282,34,174,108,109,175,266,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],{"id":9458,"slug":9459,"title":9460,"dynasty":99,"author":170,"museum":206,"description":9461,"tags":9462,"thumbUrl":9463,"material":3518,"size":9464,"collection":181,"collections":9465,"showCount":9424,"zanCount":1337,"manualWeight":48,"mainColor":49},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[7,23,24,1218,173,177,734,2279,384,109,176,175,1423,866,468,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","152 2x43 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这幅画是根据宋徽宗爱画白鹰奇石的传说.",[7,23,209,24,225,28,27,266,7854,226,229,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[90,45],{"id":9547,"slug":9548,"title":9549,"dynasty":18,"author":1419,"museum":311,"description":9550,"tags":9551,"thumbUrl":9552,"material":88,"size":9553,"collection":44,"collections":9554,"showCount":9493,"zanCount":1337,"manualWeight":48,"mainColor":94},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[7,209,23,24,25,173,27,106,29,403,266,229,109,263,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[44],{"id":9556,"slug":9557,"title":9558,"dynasty":277,"author":278,"museum":5803,"description":9559,"tags":9560,"thumbUrl":9564,"material":27,"size":9565,"collection":44,"collections":9566,"showCount":9493,"zanCount":2209,"manualWeight":48,"mainColor":49},216776,"ri-ben-shi-jia-jin-guan-chu-xian-tu-yi-ming-216776","日本· 释迦金棺出现图","这幅画描绘了释迦牟尼佛躺在金棺材里，进入涅槃，这时他以巨大的神力复活，并对他的母亲说话，他的母亲从天上来，但还没有看到他。",[7,209,27,106,243,8567,9561,9562,9563],"释迦牟尼","涅槃","金棺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb770ce3cc7a39753b7dfa8bac03fa17b.jpg","160x229.5",[44],{"id":9568,"slug":9569,"title":9570,"dynasty":76,"author":1047,"museum":311,"description":9571,"tags":9572,"thumbUrl":9576,"material":139,"size":139,"collection":139,"collections":9577,"showCount":9578,"zanCount":48,"manualWeight":48,"mainColor":255},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[7,23,24,86,105,178,173,263,734,9573,226,109,9574,9575,7725],"林","天","风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],145,{"id":9580,"slug":9581,"title":9582,"dynasty":18,"author":278,"museum":311,"description":9583,"tags":9584,"thumbUrl":9587,"material":139,"size":139,"collection":139,"collections":9588,"showCount":9578,"zanCount":1337,"manualWeight":48,"mainColor":94},227882,"liu-zhi-huang-niao-tu-yi-ming-227882","榴枝黄鸟图","《 》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[7,23,24,81,28,27,83,9585,9586,2267,759,178,263],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],{"id":9590,"slug":9591,"title":9592,"dynasty":99,"author":9593,"museum":20,"description":9594,"tags":9595,"thumbUrl":9598,"material":573,"size":9599,"collection":44,"collections":9600,"showCount":9578,"zanCount":1337,"manualWeight":48,"mainColor":49},222154,"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[7,209,23,24,28,27,106,9596,2508,384,9597,1265,119],"武将","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","纵198厘米，横236厘米",[44,45],{"id":9602,"slug":9603,"title":9604,"dynasty":99,"author":278,"museum":2062,"description":9605,"tags":9606,"thumbUrl":9607,"material":538,"size":2066,"collection":139,"collections":9608,"showCount":9578,"zanCount":1104,"manualWeight":48,"mainColor":629},222147,"san-da-shi-tu-wen-shu-yi-ming-222147","三大士图-文殊","文殊菩萨图位于水月观音图之西。文殊全称文殊师利，又作曼殊室利，意为妙德、吉祥，又译作妙吉祥，是众菩萨之首，通常作释迦佛的左胁侍，专司“智慧”，表“大智”。此菩萨顶髻，以五字五髻文殊为本体最为常见，五髻表示内证五智，以表大日之五智五佛，手持剑，以表智慧之利剑，能斩断一切无明烦恼，有时手持如意，似表吉祥如意，坐骑青狮，以表智慧之威猛。佛经对文殊的顶髻、宝冠、肤色、手持法器、坐骑等，都有种种模式要求。法海寺壁画对佛像的塑造，既继承佛典的模式要求，又有新的突破，突出了写实手法，使文殊菩萨的形象与水月观音形象大体相似。\n文殊菩萨的左下侧，绘坐骑青狮与驯狮人。驯狮人身披甲胄，威武森严，拱手而立，佩带鱼形宝刀，刀鞘沥粉贴金，鳞甲闪闪，凹凸画面，豪化富丽，格外醒目。文殊的右下侧绘有一信士，一说是古印度的月盖长者，他常入维摩方长，听不二法门。长者身着黄袍，右手持杖，左手遮荫，嘴略张开，似笑非笑。满面苍须，随风飘动，虔诚地仰望着天空，好像在祈请西方三尊拯救国内恶疫。颜面肌肤，眼角鱼尾，手指关节，其神态风韵，每一个细部，都精确地表现出老人的生理和心理特征，充分体现了壁画现实性的特征。",[7,538,243,28,27,106,808,29,37,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c5d9d23ca7de5aae9bb98569f7acd7.jpg",[],{"id":9610,"slug":9611,"title":8649,"dynasty":99,"author":9612,"museum":447,"description":9613,"tags":9614,"thumbUrl":9616,"material":123,"size":9617,"collection":44,"collections":9618,"showCount":9578,"zanCount":1104,"manualWeight":48,"mainColor":49},219564,"huo-lang-tu-cui-zi-zhong-219564","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[7,23,28,27,225,1656,106,4304,9615,1365,176,386,266,300,34],"货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[44,45],{"id":9620,"slug":9621,"title":9622,"dynasty":18,"author":278,"museum":101,"description":9623,"tags":9624,"thumbUrl":9625,"material":88,"size":9626,"collection":90,"collections":9627,"showCount":9578,"zanCount":1104,"manualWeight":48,"mainColor":49},218851,"liu-ma-tu-yi-ming-218851","六马图","画面中六匹骏马神态各异，或低头啮草，或昂首嘶鸣，或随人徐行，鬃毛飞扬间尽显灵动生机。人物衣着朴素却细节饱满，牵马者的专注、骑马者的悠然、树下交谈者的闲适，皆通过简练线条勾勒得栩栩如生。背景以淡墨晕染山石，枯树虬枝点缀其间，营造出清旷悠远的氛围。整幅画作线条细腻流畅，设色淡雅自然，构图疏密有致，将人与马的日常互动融入山水意境中，既见写实之妙，又含雅致情韵，于静谧中藏生动，于细微处见匠心。",[7,23,25,27,28,106,150,384,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba5c4f2cdf33d8406cb0ae099666d89.jpg","46.2x168.3cm",[90],{"id":9629,"slug":9630,"title":9631,"dynasty":18,"author":708,"museum":101,"description":9632,"tags":9633,"thumbUrl":9634,"material":327,"size":9635,"collection":181,"collections":9636,"showCount":9578,"zanCount":2209,"manualWeight":48,"mainColor":94},215111,"bu-yu-tu-xia-gui-215111","捕鱼图","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[7,209,23,24,1352,173,177,29,174,1542,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[181],{"id":9638,"slug":9639,"title":9640,"dynasty":76,"author":9641,"museum":311,"description":9642,"tags":9643,"thumbUrl":9644,"material":2164,"size":2165,"collection":139,"collections":9645,"showCount":9646,"zanCount":48,"manualWeight":48,"mainColor":94},290384,"lan-hua-tu-juan-yun-xiang-290384","兰花图卷","韵香","女道士。能书擅画，尤擅画兰。主要作品有《空山听雨图册》",[7,209,23,24,25,173,406,229,263,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346cbb87cd3ed3e666639bdd70f910b5.jpg",[],144,{"id":9648,"slug":9649,"title":9650,"dynasty":189,"author":1442,"museum":311,"description":9651,"tags":9652,"thumbUrl":9653,"material":2164,"size":2165,"collection":139,"collections":9654,"showCount":9646,"zanCount":1314,"manualWeight":48,"mainColor":94},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[7,209,23,225,173,29,865,229,109,86,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],{"id":9656,"slug":9657,"title":9658,"dynasty":18,"author":9659,"museum":206,"description":9660,"tags":9661,"thumbUrl":9662,"material":4130,"size":9663,"collection":42,"collections":9664,"showCount":9646,"zanCount":2209,"manualWeight":48,"mainColor":94},221466,"si-mei-hua-tu-juan-yang-wu-jiu-221466","四梅花图卷","扬无咎","四梅花图画面分四段画梅，自题跋语中说：“范瑞伯要予画梅四枝，一未开，一欲开，一盛开，一将残。”四梅纯以水墨绘成，花朵作白描圈线，不加晕染，即为“圈花法”，用笔轻快洗练，毫不拘板。新枝用劲直线条一笔写成，极为挺秀。粗干则用“飞白法”，显笔复加乾皴，虚实相间，墨色变化丰富。全幅呈现出匀协恬静、清淡闲野的气氛，诚如时人所谓的“村梅”格调。作品有借梅言情、迟暮感伤之意。",[7,23,24,25,173,400,244,1712,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adde438dc6811236efafbe596d17dfd.jpg","纵27.2厘米，横358.8厘米",[42,90,45],{"id":9666,"slug":9667,"title":9668,"dynasty":18,"author":1793,"museum":56,"description":9669,"tags":9670,"thumbUrl":9674,"material":160,"size":9675,"collection":42,"collections":9676,"showCount":9646,"zanCount":48,"manualWeight":48,"mainColor":49},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[7,23,209,24,25,29,177,27,9671,1265,34,176,37,9672,67,9673,473,468,1087],"茂林","淡墨","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","纵45.4厘米，横141.8厘米",[42,181,163],{"id":9678,"slug":9679,"title":9680,"dynasty":18,"author":418,"museum":20,"description":9681,"tags":9682,"thumbUrl":9683,"material":573,"size":9684,"collection":42,"collections":9685,"showCount":9646,"zanCount":48,"manualWeight":48,"mainColor":49},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[7,209,23,24,28,27,83,266,84,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[42,90,45],{"id":9687,"slug":9688,"title":3514,"dynasty":18,"author":553,"museum":101,"description":9689,"tags":9690,"thumbUrl":9692,"material":3518,"size":3519,"collection":42,"collections":9693,"showCount":9646,"zanCount":1337,"manualWeight":48,"mainColor":49},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[7,23,24,25,173,177,9691,29,175,1423,866,229,109,174,263],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[42,181,163],{"id":9695,"slug":9696,"title":9697,"dynasty":189,"author":1539,"museum":20,"description":9698,"tags":9699,"thumbUrl":9701,"material":67,"size":9702,"collection":181,"collections":9703,"showCount":9646,"zanCount":2209,"manualWeight":48,"mainColor":49},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[7,23,24,9700,225,173,177,29,557,176,34,1365,109],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[181,163],{"id":9705,"slug":9706,"title":9707,"dynasty":76,"author":7940,"museum":206,"description":9708,"tags":9709,"thumbUrl":9710,"material":88,"size":9711,"collection":181,"collections":9712,"showCount":9646,"zanCount":2209,"manualWeight":48,"mainColor":49},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[7,23,24,225,27,29,7002,176,466,109,107,34,263,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[181,45],{"id":9714,"slug":9715,"title":8021,"dynasty":76,"author":310,"museum":20,"description":9716,"tags":9717,"thumbUrl":9718,"material":123,"size":9719,"collection":181,"collections":9720,"showCount":9646,"zanCount":1337,"manualWeight":48,"mainColor":629},219222,"qing-lv-shan-shui-tu-xie-sun-219222","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[7,23,24,26,27,29,34,176,109,107,35,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[181],{"id":9722,"slug":9723,"title":9724,"dynasty":18,"author":3466,"museum":9725,"description":9726,"tags":9727,"thumbUrl":9729,"material":409,"size":9730,"collection":139,"collections":9731,"showCount":9646,"zanCount":1337,"manualWeight":48,"mainColor":49},219192,"xiao-xiang-ba-jing-yu-cun-xi-zhao-mu-xi-219192","潇湘八景-渔村夕照","根津美术馆","烟霭似梦，轻覆潇湘水畔。远山如黛，在朦胧雾气中层层隐现，墨色浓淡间藏着天地的悠远。近岸林木苍劲，枝桠舒展，与嶙峋山石相映。水面上扁舟缓行，渔人影绰，似在暮色里寻归处。几处屋舍疏落，隐于树影烟岚间，不闻喧嚣，唯余静谧。\n\n水墨晕染出夕照的温柔，没有浓艳色彩，却以极简之笔勾勒出渔村黄昏的禅意空灵——天地人在此相融，时光仿佛停滞，只留山水与自然的清寂对话。每一处墨痕都藏着野趣与淡泊，让观者沉浸在这份恬淡悠远的意境里，似能听见风过林梢、水拍船舷的轻响，忘却尘俗纷扰。",[7,209,23,24,173,177,29,174,34,9728,3620,1083],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0abab9aa023a77aaf3089f0f4a2f97.jpg","33x112厘米",[],{"id":9733,"slug":9734,"title":9735,"dynasty":76,"author":1473,"museum":1529,"description":9736,"tags":9737,"thumbUrl":9738,"material":123,"size":9739,"collection":90,"collections":9740,"showCount":9646,"zanCount":2209,"manualWeight":48,"mainColor":49},218859,"mei-hua-tu-jin-nong-218859","梅花图","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[7,23,24,225,173,402,83,178,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[90],{"id":9742,"slug":9743,"title":1238,"dynasty":18,"author":278,"museum":9744,"description":9745,"tags":9746,"thumbUrl":9747,"material":123,"size":9748,"collection":90,"collections":9749,"showCount":9646,"zanCount":2209,"manualWeight":48,"mainColor":629},218645,"mu-dan-tu-yi-ming-218645","福冈市立美术馆","沉棕底色如旧绢凝香，中央牡丹姿态雍容却不失清雅。花瓣层叠如浪，米白与浅褐的晕染间藏着淡粉的柔韵，似被时光打磨出温润质感。墨线勾出的叶片翠意内敛，叶脉纤细如丝，与花的柔婉相映成趣。整幅画作工致细腻，尽显宋画的沉静风骨，将牡丹的端庄神韵凝于方寸之间，仿佛能窥见千年之前画者笔下那一抹含蓄的生机，静谧中流淌着古雅的诗意。",[7,209,23,24,83,28,27,369,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7837e7613763e599f5ea1a410e470c01.jpg","26.7x31.2",[90],{"id":9751,"slug":9752,"title":9753,"dynasty":18,"author":446,"museum":311,"description":9754,"tags":9755,"thumbUrl":9756,"material":139,"size":139,"collection":139,"collections":9757,"showCount":9758,"zanCount":2209,"manualWeight":48,"mainColor":49},227516,"wang-wei-shi-yi-tu-li-zhou-mi-fei-227516","王维诗意图立轴","米芾，字元章，号鹿门居士、襄阳漫士、海岳外史，北宋著名大书画家，鉴藏家。祖籍太原，后迁居襄阳，人称“米襄阳”。宣和年间为徽宗赵佶召为书画学博士。\n\n米芾能诗擅文，书画尤具功力。篆、隶、行、草、楷各体皆能，行草造诣尤高。芾自云学过各家各派，但从其作品观之，得王献之、释智永二家最多。其书淋漓痛快，隽雅奇变，晚年书艺更达至炉火纯青之境。与苏轼、黄庭坚、蔡襄合称“宋四家”。",[7,23,225,173,29,177,34,109,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ca00f8b933044d132ee6e26db3b619.jpg",[],143,{"id":9760,"slug":9761,"title":9762,"dynasty":8433,"author":9763,"museum":311,"description":9764,"tags":9765,"thumbUrl":9767,"material":139,"size":139,"collection":139,"collections":9768,"showCount":9758,"zanCount":1337,"manualWeight":48,"mainColor":94},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[7,209,23,24,25,28,27,106,150,9766,263,86,178,4420,1115,1116,4421,63],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],{"id":9770,"slug":9771,"title":6771,"dynasty":18,"author":278,"museum":311,"description":9772,"tags":9773,"thumbUrl":9774,"material":139,"size":139,"collection":139,"collections":9775,"showCount":9758,"zanCount":2209,"manualWeight":48,"mainColor":49},223683,"yin-cha-tu-yi-ming-223683","《宋饮茶图》是宋代佚名创作的绢本设色画，现藏于美国弗利尔美术馆。\n图中画一侍女双手捧茶盘，一妇人伸手盘中拿茶具。\n右边一贵夕面向她们而立，仪态端庄娴静。\n后随侍女双手捧一锦盒。\n画风承唐代周吩，典雅浓丽。\n旧题南唐 画，然观其时代气息，应为宋人所作。",[7,23,209,1352,28,27,106,59,4361,263,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],{"id":9777,"slug":9778,"title":9779,"dynasty":76,"author":1744,"museum":20,"description":9780,"tags":9781,"thumbUrl":9782,"material":712,"size":2698,"collection":90,"collections":9783,"showCount":9758,"zanCount":2209,"manualWeight":48,"mainColor":94},223296,"mo-bi-zhu-shi-tu-zhou-zheng-ban-qiao-223296","墨笔竹石图轴","郑板桥画墨竹，多为写意之作。一气呵成．生活气息十分浓厚，一枝一叶．不论枯竹新篁，丛竹单枝，还是风中之竹。雨中之竹．都极富变化之妙．如竹之高低错落，浓淡枯荣．点染挥毫，无不精妙。画风清劲秀美，超尘脱俗，给人一种与众不同之感。他说：“文与可画竹，胸有成竹；郑板桥画竹，胸无成竹。与可之有成竹．所谓渭川千亩在胸中也；板桥之无成竹，如雷霆霹雳，草木怒生，有莫如其然而然者，盖大化之流行．其道如是，与可之有，板桥之无，是一是二解人会之。”实际上，板桥“胸无成竹”与文与可“胸有成竹”在根本上是不矛盾的，郑板桥注意的是在创作之前，构思要与熟练的技巧相结合，但这种写意画与文与可高度写实墨竹画在技法上又是有区别的，即有写意与写实、抽象与具象、神似与形似的不同。特别引人注目的是郑板桥画竹还讲究书与画的有机结合，“以草书之中竖长撇法运之”，他说：“书法有行款，竹更要有行款，书法有浓淡，竹更要有浓淡，书，去有疏密，竹更要有疏密。”为此，人们都能从他的字画中体味到。",[7,23,173,225,226,229,263,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00450bf3ebc8d27f10d2ec819e60152f.jpg",[90,163],{"id":9785,"slug":9786,"title":9787,"dynasty":189,"author":9788,"museum":206,"description":9789,"tags":9790,"thumbUrl":9792,"material":712,"size":9793,"collection":90,"collections":9794,"showCount":9758,"zanCount":2209,"manualWeight":48,"mainColor":94},221838,"tao-zhu-jin-ji-tu-zhou-wang-yuan-221838","桃竹锦鸡图轴","王渊","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[7,23,464,28,83,225,9248,226,3168,558,9791,4692],"水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14268d3dd72321107b543bb80edf552.jpg","纵102.3cm，横55.4cm",[90,163],{"id":9796,"slug":9797,"title":9798,"dynasty":189,"author":190,"museum":20,"description":9799,"tags":9800,"thumbUrl":9801,"material":1488,"size":9802,"collection":181,"collections":9803,"showCount":9758,"zanCount":2209,"manualWeight":48,"mainColor":49},220763,"jiu-feng-xue-ji-tu-huang-gong-wang-220763","九峰雪霁图","是图作于元至正九年（1349年），为黄公望81高龄之作。作者以水墨写意的手法汇集画出了江南松江一带的九座道教名山，时称“九峰”，体现了作者对道教全真教的崇拜。该图系画赠江浙儒学提举班惟志，时值正月春雪，有感雪霁寒意，画意肃穆静谧。图中的中、近景以干笔勾廓叠石，坡边微染赭黄，远处九峰留白，以淡墨衬染出雪山，是黄公望简繁合一的精品作。",[7,23,29,173,177,225,30,1775,31,558,865,4970,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纵117厘米，横55.5厘米",[181,163],{"id":9805,"slug":9806,"title":9807,"dynasty":189,"author":1988,"museum":311,"description":9808,"tags":9809,"thumbUrl":9810,"material":139,"size":139,"collection":139,"collections":9811,"showCount":9812,"zanCount":48,"manualWeight":48,"mainColor":49},228265,"yue-xia-mei-hua-tu-wang-mian-228265","月下梅花图","古梅老干盘虬苍劲，如铁铸凝霜，却自枯槎间抽发柔枝，繁花轻缀如堆雪团玉。左上角圆月晕出朦胧暖光，将夜色晕化，清辉漫过梅枝，冷艳花影与溶溶月色缠织，把孤高疏淡的意境烘托到极致。\n\n以顿挫老辣的水墨写枝，尽显梅树硬骨，淡墨圈花留白，衬出花瓣冰清玉洁，笔简意足。题诗与画意相融，诗书画印浑然一体，尽显文人雅致风骨。将梅花凌霜傲雪的君子品格，与画者淡泊襟怀藏在尺幅清景之中，暗香似随月色浮动，观之便觉心神澄澈。",[7,23,24,225,173,402,285,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b72dd09d14af6300a2dd92f27a517ef.jpg",[],142,{"id":9814,"slug":9815,"title":9816,"dynasty":99,"author":9817,"museum":78,"description":9818,"tags":9819,"thumbUrl":9820,"material":139,"size":139,"collection":44,"collections":9821,"showCount":9812,"zanCount":1314,"manualWeight":48,"mainColor":94},222503,"shen-xian-tu-ce-zhang-lu-222503","神仙图册","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[7,23,209,24,81,173,244,27,106,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad175defc4617369b4400b273e45b98.jpg",[44],{"id":9823,"slug":9824,"title":9825,"dynasty":18,"author":1793,"museum":9826,"description":9827,"tags":9828,"thumbUrl":9829,"material":67,"size":9830,"collection":42,"collections":9831,"showCount":9812,"zanCount":48,"manualWeight":48,"mainColor":49},221440,"han-lin-gao-shi-tu-zhou-li-cheng-221440","寒林高士图轴","美国弗瑞尔美术馆","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[7,23,173,225,29,1776,5728,34,176,109,1265,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425bbd40a0bd5977059e42cdf3fd2910.jpg","174 x 89.2 厘米",[42,181,163],{"id":9833,"slug":9834,"title":9835,"dynasty":18,"author":1721,"museum":20,"description":9836,"tags":9837,"thumbUrl":9838,"material":67,"size":9839,"collection":42,"collections":9840,"showCount":9812,"zanCount":2209,"manualWeight":48,"mainColor":49},221373,"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[7,23,209,25,28,27,83,512,696,940,386,2267,607,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","29.4x174.6cm",[42,90,45],{"id":9842,"slug":9843,"title":9844,"dynasty":189,"author":1539,"museum":206,"description":9845,"tags":9846,"thumbUrl":9847,"material":712,"size":9848,"collection":181,"collections":9849,"showCount":9812,"zanCount":1337,"manualWeight":48,"mainColor":49},220769,"zhong-shan-tu-juan-wu-zhen-220769","中山图卷","中山图卷，吴镇，元代，纸本，墨笔，纵26.4厘米，横90.7厘米，台北故宫博物院藏。高清作品全卷详见月雅书画高清数字博物馆。\n中山图，白纸本，高七寸九分，长二尺六寸六分，水墨。羣山叠嶂，杉木丛深，通幅无一杂树，全宗北苑，用粗麻披皴法，山头苔点，横竪相间，眾山之坳，突以浓墨晕二峰尖，低於四面，更為奇绝。\n图绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。自识「至元二年春二月，奉为可久戏作中山图，梅花道人书」。按至元二年即公元1336年，吴氏时年57岁。此图为元人集锦卷中之一段。",[7,23,24,25,173,177,29,30,34,557,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d37bf8402ad35b55e27d8d9eb9501b2.jpg","横90.7厘米，纵26.4厘米",[181,163],{"id":9851,"slug":9852,"title":9853,"dynasty":949,"author":3807,"museum":3808,"description":9854,"tags":9855,"thumbUrl":9858,"material":139,"size":139,"collection":139,"collections":9859,"showCount":9812,"zanCount":48,"manualWeight":48,"mainColor":94},220570,"qun-ben-xu-bei-hong-220570","群奔","以浓淡干湿的墨色铺陈，将奔马的神采各异尽数铺展。鬃尾随风狂舞，铁蹄错落腾跃，劲挺的线条勾勒出骏马饱满的肌肉肌理，落笔简劲却精准捕捉奔跃时的矫健身姿。干裂皴擦的地面与斜生劲草，反衬出奔腾之势的磅礴，将一往无前的野性生命力倾泻纸面。没有繁复布景，以留白衬出奔马的飒爽桀骜，融合写意笔墨的空灵与写实造型的精准，把骏马嘶风踏浪的激昂气魄定格，仿佛能听见蹄声震彻旷野，尽显蓬勃昂扬的精神气韵。",[7,23,173,400,150,9856,9857],"奔马","群马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ced0133a30ae25fe8de9caba9632bd.jpg",[],{"id":9861,"slug":9862,"title":9863,"dynasty":76,"author":3223,"museum":311,"description":9864,"tags":9865,"thumbUrl":9869,"material":139,"size":139,"collection":139,"collections":9870,"showCount":9871,"zanCount":1314,"manualWeight":48,"mainColor":49},229035,"yue-man-qing-you-tu-ce-chen-mei-229035","月曼清游图册","此作工致细腻，庭院春梅如云盛放，元宵宫灯悬于枝梢檐下，晕开融融暖意。楼下女眷三两围聚，私语笑谈，情态温婉柔媚；楼上闺人凭窗远眺，共赏灯景。设色明妍柔丽，线条精细雅致，将深闺女子元宵嬉游的闲雅意趣尽数铺展，仕女的温婉仪容、娇柔神态刻画入微，带着院体画的精致考究，晕染出古典深闺的春日雅兴，尽显清代仕女画的典雅意韵。",[7,209,23,81,28,27,106,1205,59,402,9866,115,107,9867,9868],"宫灯","闲雅","仕女画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ff8b8e58621845ff72b54766a782f.jpg",[],141,{"id":9873,"slug":9874,"title":9875,"dynasty":54,"author":616,"museum":6162,"description":9876,"tags":9877,"thumbUrl":9878,"material":9879,"size":9880,"collection":328,"collections":9881,"showCount":9871,"zanCount":48,"manualWeight":48,"mainColor":49},221057,"zi-shu-gao-shen-tie-yan-zhen-qing-221057","自书告身帖","《自书告身》，楷书纸本， 凡三十三行，二百五十三字，结衔小字十三行，传为颜真卿所书的墨迹。今藏日本中村不折氏书道博物馆。\n该帖端庄朴厚，苍劲有力，用一种高古气象和庙堂之气，为其晚年风格成熟时期的代表作品。\n《自书告身》为内府旧藏之物，前有纯庙前有御书十余行，隔水绫上复嵌御书数小行，后有米友仁、蔡襄、董其昌三跋，又朱朗白一跋，颜书墨彩已脱。后为清宫石渠宝笈之物。",[7,86,621,25,173,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec64bbb5452235f254da554a2a394817.jpg","楷书纸本","386字",[328,2097],{"id":9883,"slug":9884,"title":9885,"dynasty":18,"author":553,"museum":206,"description":9886,"tags":9887,"thumbUrl":9890,"material":327,"size":9891,"collection":181,"collections":9892,"showCount":9871,"zanCount":1337,"manualWeight":48,"mainColor":49},218953,"guan-bei-tu-guo-xi-218953","观碑图","寒冷的森林平坦而遥远，松树的枝干已经枯萎。这两个人靠在石碑上，而四个人站在他们前面的右边，带着马鞍和马在伞下，他们的表情非常有表情。这幅画描绘了汉朝时曹操和杨修一起看《曹娥碑》的情景。这幅画没有记号，传统上认为是郭熙所作。然而，这幅画的风格，倾斜的石头和松散的树枝，以及参差不齐的夸张树干，并没有给人以郭熙的建议的感觉。其他现存的涉及看纪念碑的画作包括大阪市立美术馆收藏的《读碑石》，这幅画主要描绘的是残存纪念碑的寒冷森林场景，以此来让观者思考过去。",[7,209,23,24,225,464,177,1218,106,150,9888,9889,176,1267,451,34],"碑","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d1f7d1ced6d46fbc9bb38d75e4147.jpg","164.4x119",[181],{"id":9894,"slug":9895,"title":9896,"dynasty":76,"author":963,"museum":311,"description":9897,"tags":9898,"thumbUrl":9899,"material":139,"size":139,"collection":139,"collections":9900,"showCount":9901,"zanCount":2209,"manualWeight":48,"mainColor":94},228994,"zhu-shi-zhen-ji-tu-shi-tao-228994","竹石真迹图","此作用水墨写意绘就幽境。以淋漓淡墨勾皴巨石轮廓，留白为体，枯笔侧锋扫出苍涩纹理，朴拙雄浑间尽显嶙峋风骨。几竿新竹斜倚石畔，中锋写干清劲挺拔，竹叶以焦墨挥写，聚散错落，偃仰有态，尽显萧疏清逸之致。左下角兰草柔婉，与竹石刚健相映成趣。\n\n整幅画以少胜多，墨色干湿浓淡层次丰盈，笔意纵恣洒脱，将竹之劲节、石之沉稳融于尺幅之间，寄寓文人劲节自持的襟怀，尽显以形写意、天人合一的审美意趣，是水墨小品中的隽秀之作。",[7,209,23,173,400,226,385,263,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37275658c9a76d23ae4cf87b6f96f432.jpg",[],140,{"id":9903,"slug":9904,"title":9905,"dynasty":204,"author":2585,"museum":222,"description":9906,"tags":9907,"thumbUrl":9909,"material":139,"size":139,"collection":139,"collections":9910,"showCount":9901,"zanCount":1337,"manualWeight":48,"mainColor":49},226703,"xi-shan-lan-re-tu-ju-ran-226703","溪山兰若图","此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。",[7,23,209,225,173,177,29,734,384,176,468,9908,243],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18e1550c2f9295b94665ebbfbacce7b.jpg",[],{"id":9912,"slug":9913,"title":9914,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":9915,"thumbUrl":9916,"material":27,"size":1608,"collection":139,"collections":9917,"showCount":9901,"zanCount":48,"manualWeight":48,"mainColor":94},222754,"xian-e-chang-chun-tu-08b-ju-hua-lang-shi-ning-222754","仙萼长春图-08b（菊花）",[7,209,23,24,81,27,28,83,407,370,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea32cfd2d4eabbf19626d6b6e93697f.jpg",[],{"id":9919,"slug":9920,"title":4416,"dynasty":76,"author":278,"museum":20,"description":9921,"tags":9922,"thumbUrl":9923,"material":123,"size":9924,"collection":44,"collections":9925,"showCount":9901,"zanCount":1104,"manualWeight":48,"mainColor":49},219633,"qian-long-huang-di-chao-fu-xiang-yi-ming-219633","此作工笔细腻，写实传神。画中帝王面容俊朗，神色端凝沉稳，自带不怒自威的从容气度。明黄朝服遍绣祥龙，十二章纹错落排布，金线勾勒下瑞兽纹样鲜活灵动，珠玉朝珠垂坠于前，礼制森严间尽显极致华贵。髹金龙椅雕刻繁复精妙，卷云虬龙层层环绕，衬出帝王的独尊地位。\n\n画面底色素净克制，将视觉重心全然倾注于人物之上，设色富丽却不俗艳，工整细致的笔触，将盛世帝王的威仪气度凝于绢素，尽显宫廷肖像画的典雅规整，让观者仿佛能窥见当年紫禁城中的肃穆华贵。",[7,209,23,24,225,28,27,106,63,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0605e9fa04d93aeb448927849ebb7b94.jpg","纵271厘米，横142厘米",[44],{"id":9927,"slug":9928,"title":9929,"dynasty":99,"author":278,"museum":206,"description":9930,"tags":9931,"thumbUrl":9937,"material":123,"size":139,"collection":44,"collections":9938,"showCount":9901,"zanCount":1009,"manualWeight":48,"mainColor":94},218219,"gu-xiu-ba-xian-qing-shou-gua-ping-yi-ming-218219","顾绣八仙庆寿挂屏","这幅画采用了典型的明朝画风，包括浓艳的色彩、精细的线条和富有章法的构图。画中的人物均为虚构的仙人，每一位仙人都有着独特的服装和长相，并且每一位仙人的手持的吉祥物也不尽相同。\n\n整幅画呈现出一种和谐美的氛围，传达出祝福寿星的良好意愿。这幅画非常适合用来装饰寿星的家中，作为庆祝寿辰的艺术品。",[7,9932,9933,27,106,9934,2279,3972,9935,9936,3861],"顾绣","挂屏","八仙","刺绣","仙禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea7d97637a772d7995c32ddac177cc0.jpg",[44],{"id":9940,"slug":9941,"title":9942,"dynasty":76,"author":963,"museum":447,"description":964,"tags":9943,"thumbUrl":9944,"material":88,"size":969,"collection":139,"collections":9945,"showCount":9901,"zanCount":2209,"manualWeight":48,"mainColor":94},214890,"shan-shui-tu-ce-3-shi-tao-214890","山水图册-3",[7,23,24,81,173,27,177,29,174,109,176,34,37,106,3711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f99fe4ff77ab4950fd6bc2d79236725.jpg",[],{"id":9947,"slug":9948,"title":9949,"dynasty":99,"author":936,"museum":311,"description":9950,"tags":9951,"thumbUrl":9952,"material":2164,"size":2165,"collection":139,"collections":9953,"showCount":9954,"zanCount":2209,"manualWeight":48,"mainColor":49},287343,"he-hua-yuan-yang-tu-juan-wen-chen-hong-shou-287343","荷花鸳鸯图(绢纹)","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[7,209,23,24,225,3567,28,27,136,2053,512,229,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg",[],139,{"id":9956,"slug":9957,"title":9958,"dynasty":99,"author":936,"museum":9959,"description":9960,"tags":9961,"thumbUrl":9962,"material":573,"size":9963,"collection":181,"collections":9964,"showCount":9954,"zanCount":48,"manualWeight":48,"mainColor":94},221882,"chu-chu-tu-juan-quan-juan-chen-hong-shou-221882","出处图卷全卷","张大千先生的旧藏","画卷前后隔水留下了他的墨宝。此卷是陈洪绶在去世前一年为周亮工所作，这一年陈洪绶相继为周亮工一共创作了42件作品，《出处图》则是其中的精品。展卷之后可见诸葛亮与陶渊明盘坐于树下正侃侃而谈，诸葛亮头戴“诸葛巾”，陶渊明则手抚无弦琴，形象格调高古，气韵不凡，人物衣袖由一根根行云流水般的线条绘就，每根线条都不另起笔，如若不加停顿似的一气呵成，而线条与线条的排列则构成了陈洪绶特有的韵味。",[7,23,24,25,28,27,106,29,34,109,229,86,178,621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9517553124fbf7960f3c43dce25b9cc5.jpg","26×195cm",[181,45],{"id":9966,"slug":9967,"title":9968,"dynasty":189,"author":3051,"museum":206,"description":9969,"tags":9970,"thumbUrl":9971,"material":67,"size":9972,"collection":42,"collections":9973,"showCount":9954,"zanCount":2209,"manualWeight":48,"mainColor":49},221709,"hua-cao-zhong-si-qian-xuan-221709","花草螽斯","钱选，字舜举，号玉潭，霅川人。宋景定间，乡贡进士。元初吴兴有八俊之号，以赵孟頫为称首，而选与焉。及孟頫被荐等朝，诸公皆相附取宦达，独选龃龉不合，流连诗画以终其身。人物师李公麟，山水师赵伯驹，花鸟师赵昌，尤善作折枝，得意者赋诗其上。赵孟頫尝从之问画法。尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉也。湖州人经其指教，类皆以能画称。画多人物花鸟，山水颇罕其传。",[7,23,28,27,83,940,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2cd550ee9c53d194f657bfeb038acc.jpg","26.6x23",[42,90,45],{"id":9975,"slug":9976,"title":9977,"dynasty":18,"author":9978,"museum":260,"description":9979,"tags":9980,"thumbUrl":9984,"material":40,"size":9985,"collection":328,"collections":9986,"showCount":9954,"zanCount":2209,"manualWeight":48,"mainColor":94},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[7,209,23,24,25,29,173,27,177,9672,34,9981,33,9982,1265,737,175,9983,6231],"湖水","岸堤","湖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","纵19.1厘米，横161.3厘米",[328],{"id":9988,"slug":9989,"title":9990,"dynasty":99,"author":170,"museum":78,"description":9991,"tags":9992,"thumbUrl":9993,"material":123,"size":9994,"collection":181,"collections":9995,"showCount":9954,"zanCount":1009,"manualWeight":48,"mainColor":49},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[7,23,24,209,225,27,29,106,107,1365,176,466,34,557,105,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[181],{"id":9997,"slug":9998,"title":9999,"dynasty":76,"author":10000,"museum":1279,"description":10001,"tags":10002,"thumbUrl":10003,"material":88,"size":139,"collection":90,"collections":10004,"showCount":9954,"zanCount":2209,"manualWeight":48,"mainColor":94},216589,"za-hua-ce-bian-shou-min-216589","杂画册","边寿民","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[7,23,173,400,4152,8728,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404de24995c9ac625b609aeaa91a95e6.jpg",[90],{"id":10006,"slug":10007,"title":10008,"dynasty":277,"author":10009,"museum":311,"description":10010,"tags":10011,"thumbUrl":10013,"material":139,"size":139,"collection":139,"collections":10014,"showCount":10015,"zanCount":2209,"manualWeight":48,"mainColor":94},230477,"hua-niao-tu-ping-ge-shi-bei-zhai-230477","花鸟图屏","葛饰北斋","画面以浅褐素底铺陈秋塘底色，白鹭莹洁似雪，身姿挺秀悠然，羽色晕染细腻柔和，抬首静立间自带安然意态。旁侧枯荷舒展残叶、垂坠莲蓬，笔意简淡尽显清秋萧疏之致。整体构图留白松弛，淡彩晕染出温润雅致的侘寂意趣，将秋塘的清寂禅意藏于笔墨之间，物景相融相生，晕开东方独有的静谧诗意，寥寥勾勒便绘就幽淡闲雅的秋日荷塘意韵，尽显空灵雅致的东方美学意境。",[7,23,24,10012,28,27,83,227,1194,781,137],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c00298726ea46a856b6cbf562896d1.jpg",[],138,{"id":10017,"slug":10018,"title":10019,"dynasty":76,"author":1929,"museum":311,"description":10020,"tags":10021,"thumbUrl":10022,"material":139,"size":139,"collection":90,"collections":10023,"showCount":10015,"zanCount":48,"manualWeight":48,"mainColor":94},224310,"hua-niao-ce-shi-kai-li-shan-224310","花鸟册十开","《范本传真:李鱓花鸟册》是乾隆时原装裱，品相绝佳，原藏日本，曾于日本“扬州八怪”展上展出，而且当时“扬州八怪”展的宣传海报所用图片即为此册中“蕉阴兰蕙”一开；据日本原藏者介绍，此册几十年前在日还出版过挂历。\n图书信息 《范本传真:李鱓花鸟册》由人民美术出版社出版。",[7,23,173,81,83,136,400,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefaef9a058a6aa6890761dcabb948f6.jpg",[90,45],{"id":10025,"slug":10026,"title":10027,"dynasty":18,"author":6864,"museum":206,"description":10028,"tags":10029,"thumbUrl":10030,"material":67,"size":10031,"collection":42,"collections":10032,"showCount":10015,"zanCount":48,"manualWeight":48,"mainColor":49},221619,"mo-fan-kuan-lu-shan-tu-zhou-jiang-can-221619","摹范宽庐山图轴","本幅旧传为江参作，画采全景式构图，中央主峰巍峨耸立，峰顶遍布密林。山坳处，寺宇、亭台错落。\n杂树掩映间，可见泉瀑奔流，淙淙若闻其声。山道上，并绘有行旅策蹇，络绎于途。幅左下方题：「摹范华原庐山图」。《宣和画谱》虽未著录〈庐山图〉，然此作以短笔作皴，呈密集的雨点状，明显由〈溪山行旅图〉演化而来。",[7,23,24,225,105,177,173,29,734,558,34,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","347.4x131.8",[42,181,163],{"id":10034,"slug":10035,"title":10036,"dynasty":189,"author":1442,"museum":20,"description":10037,"tags":10038,"thumbUrl":10039,"material":10040,"size":10041,"collection":181,"collections":10042,"showCount":10015,"zanCount":2209,"manualWeight":48,"mainColor":94},220797,"ku-mu-you-huang-tu-zhou-ni-zan-220797","枯木幽篁图轴","作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。\n此图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。构景简洁是倪云林画的突出特色，此图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。此图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民。” 平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。图中自题[古木幽篁寂滨，班班藓石翠含春，自知不入时人眼，画与蛟溪古逸民，云林生]。画幅上还有马治，松泉隐者诗题。",[7,23,24,225,173,451,4272,229,2352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dfc23fe071c9504a396c679d769fdc.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[181,163],{"id":10044,"slug":10045,"title":10046,"dynasty":99,"author":170,"museum":1250,"description":1251,"tags":10047,"thumbUrl":10048,"material":699,"size":1255,"collection":139,"collections":10049,"showCount":10015,"zanCount":2209,"manualWeight":48,"mainColor":94},220064,"hu-qiu-shi-er-jing-tu-ce-3-shen-zhou-220064","虎丘十二景图册-3",[7,209,23,24,81,173,177,29,107,226,1365,108,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111612596e2e7ea00726bc18bd6e599c.jpg",[],{"id":10051,"slug":10052,"title":10053,"dynasty":76,"author":10054,"museum":447,"description":10055,"tags":10056,"thumbUrl":10057,"material":88,"size":139,"collection":44,"collections":10058,"showCount":10015,"zanCount":5,"manualWeight":48,"mainColor":94},219550,"xie-yi-xun-long-tu-yu-zhi-ding-219550","斜倚薰笼图","禹之鼎","此作用笔秀雅匀净，线条挺括柔婉，浅淡敷色晕染精妙。斜倚薰笼的仕女软红覆身，执卷似读非读，眉眼含着慵懒倦怠，将深闺女子百无聊赖的娇柔之态尽显无余。立侍女子佩剑负囊，神色温婉恭谨，静穆疏离的情态与坐者形成微妙呼应。画面氛围幽柔沉静，把闺中静谧松弛的氛围烘托尽致，将仕女柔婉闲淡的幽微心绪刻画入微，尽显传统仕女画雅致隽秀的审美意韵。",[7,23,24,28,27,244,106,59,228,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886625e8924a96d8b20fbfff9e4f4569.jpg",[44,45],{"id":10060,"slug":10061,"title":6790,"dynasty":99,"author":278,"museum":1098,"description":10062,"tags":10063,"thumbUrl":10064,"material":123,"size":10065,"collection":90,"collections":10066,"showCount":10015,"zanCount":1314,"manualWeight":48,"mainColor":49},219268,"lian-chi-cang-lu-tu-yi-ming-219268","墨绿荷叶如伞盖层叠，粉嫩荷花亭亭绽于其间，瓣尖晕染淡红，花心素白如雪。几只苍鹭姿态各异：一者振翅展羽，翎毛纤毫毕现；一者引颈长唳，喙尖微张似欲唤侣；另有两羽相偎，身形依偎间流露亲昵。背景深褐如古绢晕染，衬得花叶禽鸟愈发清雅。笔触细腻处见工致，羽毛的柔滑、荷叶的脉络皆清晰可触，却又不失写意的空灵。整幅画氤氲着静谧生机，似将莲池畔的刹那闲趣凝于绢上，尽显雅致韵致，观之如临清池，闻得荷风与禽鸣交织，恍若触到古绢上凝住的清润时光。",[7,23,209,24,27,28,83,6793,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da87412892d3bb3ded765cef53220cf.jpg","纵97.7横43.1厘米",[90],{"id":10068,"slug":10069,"title":10070,"dynasty":99,"author":10071,"museum":311,"description":10072,"tags":10073,"thumbUrl":10075,"material":139,"size":139,"collection":139,"collections":10076,"showCount":10077,"zanCount":2209,"manualWeight":48,"mainColor":94},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[7,23,24,25,28,27,83,402,406,369,404,264,405,691,3874,989,1292,1353,1905,10074,84,759,1629,263],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":10079,"slug":10080,"title":10081,"dynasty":18,"author":10082,"museum":20,"description":10083,"tags":10084,"thumbUrl":10085,"material":40,"size":10086,"collection":42,"collections":10087,"showCount":10077,"zanCount":1337,"manualWeight":48,"mainColor":94},221420,"dong-po-chi-bi-tu-wang-shen-221420","东坡赤壁图","王诜","『烏林赤壁事已陳，黃州赤壁天下聞』。蘇軾的兩次赤壁漫遊，喚醒和重排了赤壁古戰場在文學史和藝術史中的地位，不但前後《赤壁賦》和《水調歌頭·赤壁懷古》成爲千古名篇，由此託生的赤壁圖也成爲畫史中重要的主題。作爲蘇軾文人集團的兩位重要人物：李公麟和王詵，他們都曾畫過赤壁圖，以圖畫的方式呼應着蘇軾的歷史書寫。他們的創作直接建立了畫史中的『赤壁圖式』，對後代產生深遠影響。惜乎二作失傳。我們只能憑藉一些歷史文獻，復原二圖的基本風格面貌，爲我們探討北宋末年以來『赤壁圖式』的發展提供一些線索。",[7,23,173,1352,29,174,176,109,106,865,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93947956f8d0518422dab73c735749f6.jpg","24.8 x 28.1 CM",[42,181,163],{"id":10089,"slug":10090,"title":10091,"dynasty":54,"author":10092,"museum":56,"description":10093,"tags":10094,"thumbUrl":10095,"material":7480,"size":139,"collection":328,"collections":10096,"showCount":10077,"zanCount":1337,"manualWeight":48,"mainColor":49},221080,"gu-shi-si-tie-quan-juan-zhang-xu-221080","古诗四帖全卷","张旭","《古诗四帖》是唐代张旭创作的书法作品。\n《宣和书谱》、《续书画题跋记》、《式古堂书画汇考》等著录。\n通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。” [2] 今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”",[7,86,2570,25,24,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece062efbfba0cc39a01803fca4cfb21.jpg",[328,2097],{"id":10098,"slug":10099,"title":10100,"dynasty":99,"author":170,"museum":1250,"description":1251,"tags":10101,"thumbUrl":10103,"material":699,"size":1255,"collection":139,"collections":10104,"showCount":10077,"zanCount":48,"manualWeight":48,"mainColor":49},220063,"hu-qiu-shi-er-jing-tu-ce-4-shen-zhou-220063","虎丘十二景图册-4",[7,23,209,81,173,29,175,107,106,34,10102,9597,177],"围墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bce900b7fa22a36598aac7aa31efa9d.jpg",[],{"id":10106,"slug":10107,"title":10108,"dynasty":18,"author":708,"museum":2958,"description":10109,"tags":10110,"thumbUrl":10111,"material":123,"size":139,"collection":42,"collections":10112,"showCount":10077,"zanCount":48,"manualWeight":48,"mainColor":94},219858,"mu-se-gui-yu-tu-xia-gui-219858","暮色归渔图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[7,23,173,177,29,174,867,266,3620,866,1231,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[42],{"id":10114,"slug":10115,"title":10116,"dynasty":76,"author":10117,"museum":20,"description":10118,"tags":10119,"thumbUrl":10120,"material":88,"size":10121,"collection":45,"collections":10122,"showCount":10077,"zanCount":1337,"manualWeight":48,"mainColor":94},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[7,209,23,24,225,27,28,173,807,783,865,283,928,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[45],{"id":10124,"slug":10125,"title":10126,"dynasty":18,"author":2297,"museum":311,"description":10127,"tags":10128,"thumbUrl":10129,"material":123,"size":10130,"collection":90,"collections":10131,"showCount":10077,"zanCount":1337,"manualWeight":48,"mainColor":49},218557,"zhen-qin-tu-li-di-218557","珍禽图","画面中两只禽鸟栖息于枝间，翎羽纤毫毕现，墨色晕染层次分明，黑褐斑纹与浅白羽毛相映成趣。上方禽鸟颔首敛翅，姿态娴静；下方者展翅欲动，羽翼柔润中透着劲挺。枝叶扶疏，浅金色叶片与棕褐枝干交织，古朴绢本底色衬出物象温润质感。构图疏密有致，动静相宜，每道线条皆见功底：羽毛的蓬松、枝干的纹理刻画入微，似能闻林间轻响，观禽鸟灵动之态。笔墨间藏着对自然的细腻体察，于方寸间尽显生机与雅致，让人沉醉于这份古朴而鲜活的意趣里。",[7,209,23,24,1352,28,27,83,266,926,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232d7931170a1c143b987fbb2c17089a.jpg","28x32",[90],{"id":10133,"slug":10134,"title":10135,"dynasty":18,"author":1419,"museum":311,"description":10136,"tags":10137,"thumbUrl":10138,"material":409,"size":3412,"collection":163,"collections":10139,"showCount":10077,"zanCount":48,"manualWeight":48,"mainColor":49},218551,"gao-shi-xie-he-tu-ma-yuan-218551","高士携鹤图","垂丝柳影轻笼暮色，宽袍士人拄杖凝眸。身旁仙鹤独立，长颈引向天际，似欲与流云对语。画面构图疏朗，以简淡之笔见天地阔远：柳枝的柔曼衬出士人的清寂，鹤的高洁映其心性。淡墨晕染的远山如黛，近水无痕，留白处漾着幽远的禅意。线条简练却含筋骨，衣袂的飘举、鹤羽的疏劲，皆诉着隐逸之趣——抛却俗务，与鹤为友，在烟水间守一份澄澈自在。笔墨间藏着文人的精神归处，不恋尘嚣，只愿在山水云鹤间，寻得灵魂的安宁与超脱。",[7,209,23,24,1352,173,27,244,106,60,2607,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0535cd201a3698edcf794670a2a03726.jpg",[163],{"id":10141,"slug":10142,"title":10143,"dynasty":99,"author":278,"museum":206,"description":10144,"tags":10145,"thumbUrl":10146,"material":123,"size":10147,"collection":44,"collections":10148,"showCount":10077,"zanCount":1337,"manualWeight":48,"mainColor":49},218526,"fo-xiang-tu-yi-ming-218526","佛像图","这些天人各自手持法器，被他们的同伴骑着并护送着，他们都面朝右边，坐在天空的云朵上，可能是一组描绘天人聆听佛陀教诲的佛画的一部分。三面六臂的力士可能是来自八大天师的阿修罗；持剑的武士和美女是罗刹，罗刹是十二天之一，原本是异教的恶魔，被降服后成为佛教的保护者。整块画板用薄薄的颜料描绘了天人的肌肉，他们的袖子卷起又折起的样子，大多是兰花叶的样式，是吴道子以来专业画家的风格。这幅画的衣服上也有丰富的金色和钩纹装饰，颜料也有很多地方是泥金的。从这幅画的风格来看，它是在15世纪明朝时期绘制的。",[7,23,24,225,28,27,243,106,2279,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052330f7cc5224c48e44b4f0a6b3ba9.jpg","143.7x81.5",[44],{"id":10150,"slug":10151,"title":6582,"dynasty":76,"author":10152,"museum":447,"description":10153,"tags":10154,"thumbUrl":10155,"material":123,"size":10156,"collection":44,"collections":10157,"showCount":10077,"zanCount":48,"manualWeight":48,"mainColor":49},218356,"zhong-kui-tu-lv-xue-218356","吕学","图中描绘的是钟馗手持宝剑，两个小孩子手持灵芝，背着书卷。这些人物是以浙江画派的风格用犀利的笔触画出来的。",[7,23,24,225,244,173,106,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e129c128c96a4adf8e82487a264110.jpg","167.7x95.6",[44],{"id":10159,"slug":10160,"title":10161,"dynasty":189,"author":645,"museum":206,"description":10162,"tags":10163,"thumbUrl":10164,"material":699,"size":10165,"collection":139,"collections":10166,"showCount":10167,"zanCount":1337,"manualWeight":48,"mainColor":49},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[7,23,24,25,173,27,29,34,7944,31,35,178,86,263,177,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":10169,"slug":10170,"title":10171,"dynasty":277,"author":10172,"museum":311,"description":10173,"tags":10174,"thumbUrl":10175,"material":139,"size":139,"collection":139,"collections":10176,"showCount":10167,"zanCount":2209,"manualWeight":48,"mainColor":49},225587,"xian-he-tu-ping-xu-xiao-ling-225587","仙鹤图屏","绪小玲","金地为底晕染出华贵底色，群鹤徐行姿态各异，或昂首引颈阔步向前，或垂首敛羽静立其间，排布错落自带悠然行进的韵律。\n\n笔墨晕染极具章法，白羽柔润清灵，玄色羽翼晕出明暗层次，挺劲纤细的长腿勾勒出丹顶鹤清隽出尘的身姿。左侧古松虬枝半掩，留白虚实相生，让画面疏密相宜，既衬出群鹤高洁仙气，也让屏面免于拥塞。整体铺陈出祥瑞静谧的氛围，将仙鹤自带的高洁之美定格屏间，尽显东方灵禽画的雅致意趣。",[7,23,28,27,83,1028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddaae8e4db67d67172777e9d18e21960.jpg",[],{"id":10178,"slug":10179,"title":10180,"dynast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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[7,25,2127,23,24,26,27,29,106,107,174,266,109,10280,865,176,115,5187,263,86],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":10285,"slug":10286,"title":10287,"dynasty":76,"author":10288,"museum":311,"description":10289,"tags":10290,"thumbUrl":10291,"material":527,"size":10292,"collection":181,"collections":10293,"showCount":10283,"zanCount":48,"manualWeight":48,"mainColor":94},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","髡残","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[7,23,173,27,177,225,29,176,34,35,108,109,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 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纵98厘米",[90],{"id":10383,"slug":10384,"title":10385,"dynasty":99,"author":170,"museum":206,"description":10386,"tags":10387,"thumbUrl":10388,"material":327,"size":10389,"collection":181,"collections":10390,"showCount":10283,"zanCount":48,"manualWeight":48,"mainColor":49},218488,"cang-ya-gao-hua-tu-shen-zhou-218488","苍崖高话图","本幅绢本仿吴镇，下笔草草若不经意，而笔极挺健。长松三株，两翁坐松下，旁置琴。背山高耸，崖下茅亭，阒然虚静。对山惟见山嘴，而小树旁出，其下横笔作水纹。经山林映衬，觉一片澄虚，如在真境。画有虽著意而不能工，草率中反饶韵致者。此幅不署年款，以书画作风而论，大约在七十岁时。",[7,23,209,225,173,177,29,175,106,866,5967,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a8a933a37400001daf47d4c1bb98a7d.jpg","149.9x77cm",[181],{"id":10392,"slug":10393,"title":8768,"dynasty":18,"author":5793,"museum":311,"description":10394,"tags":10395,"thumbUrl":10396,"material":409,"size":139,"collection":44,"collections":10397,"showCount":10283,"zanCount":48,"manualWeight":48,"mainColor":94},217069,"bu-dai-he-shang-tu-liang-kai-217069","布袋和尚是中国佛教图像中的一个著名人物，他被认为是弘法利生的传人。布袋和尚是由宋朝画家梁楷所绘制的。\n\n梁楷，原名梁可柔，是宋朝著名的画家，他以其精湛的绘画技艺而闻名。梁楷的作品大多描绘了佛教的场景和人物，其中包括布袋和尚的图像。\n\n布袋和尚的图像通常描绘出他的标志性外观，包括高耸的高顶头巾，满身袈裟，手持莲花，以及脸上带着坚定的信念和善意的笑容。这些图像通常被视为对佛教价值观的良好描述，包括善良、谅解和慈悲。\n\n梁楷的作品对中国画的发展产生了深远的影响，他的布袋和尚图像也成为了中国佛教图像的经典之作。如今，布袋和尚的图像仍然受到广泛的欢迎，并被视为中国文化的重要组成部分。",[7,23,24,18,225,243,106,173,7834,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904a61fa90ea575ee40aabf94c6fb98e.jpg",[44],{"id":10399,"slug":10400,"title":10401,"dynasty":76,"author":278,"museum":311,"description":10402,"tags":10403,"thumbUrl":10404,"material":139,"size":139,"collection":139,"collections":10405,"showCount":10406,"zanCount":1337,"manualWeight":48,"mainColor":49},230304,"fang-lin-chun-cui-zhu-hua-niao-tu-shen-se-yi-ming-230304","仿林椿翠竹花鸟图（深色）","此作用色明丽雅致，以赭色绢底托举春日景致。艳红山茶缀于虬曲枝桠，青嫩新篁挺拔舒展，柔媚花枝与劲竹相映成趣。十余只禽鸟灵动错落，或栖于枝头理羽，或两两依偎低语，羽色晕染细腻柔和，将禽鸟绒羽的鲜活质感尽数呈现。\n\n画师以工细笔触勾勒花叶禽鸟，既承袭院体花鸟的精工写实，又暗合文人画的清幽意趣，将林泉春日里花木禽鸟的自在天趣铺展在尺幅间，生机盎然中尽显闲雅静谧的林下意韵。",[7,209,23,24,25,28,27,105,83,226,370,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae43cbb6fe15b0c90b72712f15b33f1.jpg",[],134,{"id":10408,"slug":10409,"title":10410,"dynasty":99,"author":2146,"museum":78,"description":10411,"tags":10412,"thumbUrl":10413,"material":637,"size":10414,"collection":181,"collections":10415,"showCount":10406,"zanCount":1104,"manualWeight":48,"mainColor":49},222367,"qi-lv-gui-si-tu-zhou-tang-yin-222367","骑驴归思图轴","此图以高远取势，主峰矫然而起，左侧栈道隐现，泉流悠远；右侧则曲径盘旋，一人笠帽策蹇前行，山坳丛树掩映之处，村舍俨然。前景山石崚嶒，树木蔚然，溪流潺潺，一樵夫正负薪踏桥而过。构图有北宋全景式山水的影子，而皴笔则长披短拂、水墨酣畅，出自南宋家法。笔墨劲爽、风格雄健。\n画幅自题：“乞求无得束书归，依旧骑驴向翠微。满面风霜尘土气，山妻相对有牛衣。吴郡唐寅诗意图。”钤：“唐伯虎”朱文印。另有朱曜和韵题诗一首，诗堂有王同愈、裱边有吴湖帆题跋。\n鉴藏印：“吴氏梅景书屋图书印”朱文印、“梅景书屋秘笈”朱文印等。",[7,23,225,27,177,29,176,109,108,34,6926,1422,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e39436a4fe36429f039e86045ee10c7.jpg","纵77.7厘米 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喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[7,173,28,699,25,24,150,808,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[328,2097],{"id":10581,"slug":10582,"title":10583,"dynasty":189,"author":1539,"museum":260,"description":10584,"tags":10585,"thumbUrl":10586,"material":3812,"size":10587,"collection":181,"collections":10588,"showCount":127,"zanCount":1337,"manualWeight":48,"mainColor":255},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[7,23,25,173,24,177,178,263,29,175,34,4272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纵23.8厘米，横277.8厘米",[181,163],{"id":10590,"slug":10591,"title":10592,"dynasty":76,"author":4192,"museum":132,"description":10593,"tags":10594,"thumbUrl":10595,"material":173,"size":10596,"collection":181,"collections":10597,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[7,23,24,225,173,177,29,6867,176,34,35,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[181,163],{"id":10599,"slug":10600,"title":10601,"dynasty":204,"author":2585,"museum":206,"description":10602,"tags":10603,"thumbUrl":10604,"material":327,"size":10605,"collection":181,"collections":10606,"showCount":127,"zanCount":1337,"manualWeight":48,"mainColor":49},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[7,23,24,225,173,177,29,34,176,1267,175,468,229,737,6231,4970],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[181],{"id":10608,"slug":10609,"title":10610,"dynasty":18,"author":3466,"museum":4827,"description":10611,"tags":10612,"thumbUrl":10614,"material":409,"size":10615,"collection":139,"collections":10616,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":94},219189,"xiao-xiang-ba-jing-ping-sha-luo-yan-mu-xi-219189","潇湘八景-平沙落雁","烟霭轻笼的天地间，远山如黛晕染在薄纱般的雾色里，几抹淡影似云似烟，模糊了天与地的边界。近岸沙渚上，三两只雁影静立，羽翼的轮廓在朦胧中化开，仿佛刚落定的归客，与周遭的空寂融为一体。天际有雁阵掠过，纤细的墨线在虚白中牵起一缕灵动，不扰清宁，只添悠远禅意。\n\n极简笔墨勾勒出无尽空寂，淡墨晕染的层次藏着自然的呼吸，每一处留白都是心境的延伸。清旷之境里，喧嚣被滤去，唯有安宁漫上心尖，似与天地精神相往来，让人在静默中触摸到禅意的温度。",[7,23,209,173,29,266,37,10613,25,9672],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192cedb0f91bed94851114d42cfc8076.jpg","33x109.9厘米",[],{"id":10618,"slug":10619,"title":10620,"dynasty":189,"author":9788,"museum":206,"description":10621,"tags":10622,"thumbUrl":10624,"material":123,"size":10625,"collection":90,"collections":10626,"showCount":127,"zanCount":2209,"manualWeight":48,"mainColor":94},219136,"hua-hui-ce-ya-zhi-cao-wang-yuan-219136","花卉册-鸭跖草","淡赭绢面上，鸭跖草细叶舒展如碧带，脉络隐现于墨痕的深浅交错间。数点蓝花轻缀叶丛，似星子落于草梢，带着未散的晨露莹光。两只蜻蜓姿态各异：红身者尾尖微垂，翅脉如丝缕勾勒，似欲栖于叶上；浅色者翼薄如纱，透着朦胧光影，正振翅掠过花丛。笔墨细腻却不繁琐，草叶的柔韧、花的娇俏、蜻蜓的轻盈皆藏于线条与淡色中。画面虽小，却凝住了一瞬的生机：风过草叶的轻颤，蜻蜓振翅的微响，都在古雅的底色里漫开，似夏日闲窗下偶然瞥见的小景，清宁而动人。",[7,209,23,24,81,27,28,83,10623,696],"鸭跖草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c3055f4bc0f80bc6e1a1d4988a133.jpg","25.9x23.6cm",[90],{"id":10628,"slug":10629,"title":10630,"dynasty":76,"author":336,"museum":20,"description":10631,"tags":10632,"thumbUrl":10633,"material":123,"size":10634,"collection":90,"collections":10635,"showCount":127,"zanCount":1009,"manualWeight":48,"mainColor":94},218996,"han-hu-liu-zhou-lang-shi-ning-218996","阚虎骝轴","绢本之上，骏马昂首挺立，身姿矫健如虎。毛发质感细腻入微，鬃尾似流云垂落，斑纹错落间晕染出肌肉的起伏与光影变化，尽显写实功底。线条勾勒与色彩晕染相融，既有西方绘画的立体感，又不失东方笔墨的雅致。背景素净，题跋与朱印相映成趣，添几分古雅意蕴。此作将异域技法与本土审美巧妙结合，绘就骏马的灵动神韵，亦藏跨文化艺术碰撞的妙趣。",[7,23,24,225,28,27,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e691cfea774237a293ec3b0231849.jpg","纵270横240.3厘米",[90],{"id":10637,"slug":10638,"title":10639,"dynasty":76,"author":1744,"museum":311,"description":10640,"tags":10641,"thumbUrl":10642,"material":2164,"size":2165,"collection":139,"collections":10643,"showCount":10644,"zanCount":1337,"manualWeight":48,"mainColor":255},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[7,209,23,24,225,173,226,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":10646,"slug":10647,"title":10648,"dynasty":76,"author":7940,"museum":56,"description":10649,"tags":10650,"thumbUrl":10651,"material":527,"size":10652,"collection":181,"collections":10653,"showCount":10644,"zanCount":48,"manualWeight":48,"mainColor":49},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[7,23,2497,177,27,29,34,557,31,1086,35,866,1128,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[181,45],{"id":10655,"slug":10656,"title":10657,"dynasty":76,"author":10288,"museum":206,"description":10658,"tags":10659,"thumbUrl":10660,"material":841,"size":10661,"collection":181,"collections":10662,"showCount":10644,"zanCount":2209,"manualWeight":48,"mainColor":94},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[7,23,25,173,27,177,29,466,403,175,108,109,1265,37,34,176,86,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[181,45],{"id":10664,"slug":10665,"title":10666,"dynasty":949,"author":5056,"museum":10667,"description":10668,"tags":10669,"thumbUrl":10670,"material":699,"size":139,"collection":139,"collections":10671,"showCount":10644,"zanCount":48,"manualWeight":48,"mainColor":94},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","龙美术馆西岸馆","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[7,23,173,27,177,225,263,178,29,106,865,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":10673,"slug":10674,"title":10675,"dynasty":18,"author":708,"museum":78,"description":10676,"tags":10677,"thumbUrl":10678,"material":327,"size":10679,"collection":44,"collections":10680,"showCount":10644,"zanCount":2209,"manualWeight":48,"mainColor":49},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[7,23,209,24,1352,173,177,29,867,108,109,174,1542,106,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[44],{"id":10682,"slug":10683,"title":1462,"dynasty":76,"author":4050,"museum":2958,"description":10684,"tags":10685,"thumbUrl":10686,"material":409,"size":139,"collection":181,"collections":10687,"showCount":10644,"zanCount":48,"manualWeight":48,"mainColor":94},219900,"shan-shui-tu-hong-ren-219900","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[7,23,24,225,173,177,29,175,1365,176,4970,34,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[181],{"id":10689,"slug":10690,"title":10691,"dynasty":99,"author":100,"museum":447,"description":10692,"tags":10693,"thumbUrl":10695,"material":123,"size":10696,"collection":44,"collections":10697,"showCount":10644,"zanCount":2209,"manualWeight":48,"mainColor":49},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[7,23,24,209,28,27,26,29,34,10694,109,229,867,225],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[44,45],{"id":10699,"slug":10700,"title":10701,"dynasty":18,"author":2263,"museum":206,"description":10702,"tags":10703,"thumbUrl":10704,"material":123,"size":10705,"collection":42,"collections":10706,"showCount":10644,"zanCount":2209,"manualWeight":48,"mainColor":49},219278,"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[7,23,209,24,225,28,27,83,402,1292,370,176,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[42,90,45],{"id":10708,"slug":10709,"title":10710,"dynasty":204,"author":10711,"museum":311,"description":10712,"tags":10713,"thumbUrl":10714,"material":2164,"size":2165,"collection":139,"collections":10715,"showCount":10716,"zanCount":48,"manualWeight":48,"mainColor":49},288521,"gao-shi-tu-wei-xian-288521","高士图","卫贤","该画作是五代画家卫贤的代表作品，此图原著收录于《宣和画谱》中，名为“梁伯鸾图一”，为卫贤所作《高士图》组画之一, 原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[7,209,23,24,225,104,173,106,29,107,558,34,5728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":10718,"slug":10719,"title":10720,"dynasty":76,"author":77,"museum":311,"description":10721,"tags":10722,"thumbUrl":10723,"material":2164,"size":2165,"collection":139,"collections":10724,"showCount":10716,"zanCount":48,"manualWeight":48,"mainColor":49},288301,"hua-niao-cao-chong-tu-ce-yun-shou-ping-288301","花鸟草虫图册","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[7,23,81,27,83,511,84,512,28,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258fd1430fd11d1d5348dc536b1403e0.jpg",[],{"id":10726,"slug":10727,"title":10728,"dynasty":76,"author":1744,"museum":311,"description":10640,"tags":10729,"thumbUrl":10730,"material":2164,"size":2165,"collection":139,"collections":10731,"showCount":10716,"zanCount":1104,"manualWeight":48,"mainColor":49},288175,"zhu-tu-li-zhou-zheng-ban-qiao-288175","竹图立轴",[7,23,225,173,226,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fca82057ff711fbc4369fe72f5320b.jpg",[],{"id":10733,"slug":10734,"title":10735,"dynasty":99,"author":278,"museum":206,"description":10736,"tags":10737,"thumbUrl":10738,"material":712,"size":10739,"collection":139,"collections":10740,"showCount":10716,"zanCount":972,"manualWeight":48,"mainColor":94},223648,"guan-yin-xiang-zhou-yi-ming-223648","观音像轴","这尊观音的世俗色彩浓厚，他眼睛散放著悲愍的光芒，好像一位慈祥的母亲。他的脸形、发丝、手脚都用淡墨细笔画成，笔力稳健。可是衣纹则是用楷书抄录《法华经．普门品》的经文来表现，全文从观音菩萨左臂靠近孩童的头部开始，字字连续，字迹端秀，一丝不苟，充分表现了作者虔诚的宗教情怀。\n送子观音手抱孩童，右手拿杨柳，左手捧水碗。《法华经．普门品》教导求子心切的妇女礼拜供养观世音菩萨，便能生下福德智慧的男子，或是面貌端庄的女子。画中观音衣纹以楷书抄录经文近两千字，由观音左臂靠近孩童头部开始，字字连续秀整，反映虔诚宗教情怀。 观音及孩童面目、手脚以淡墨细笔勾勒，由人物开面、体态、发髻样式及回首姿态，该幅观音当为晚明作品。",[7,209,23,24,225,243,28,27,106,1554,939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8336ee8a1cdacdeb0cfb8d89211b8fc.jpg","98.1x35.6公分",[],{"id":10742,"slug":10743,"title":10744,"dynasty":76,"author":336,"museum":206,"description":10745,"tags":10746,"thumbUrl":10748,"material":573,"size":10749,"collection":181,"collections":10750,"showCount":10716,"zanCount":48,"manualWeight":48,"mainColor":49},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[7,23,28,27,29,107,109,176,34,1269,106,115,10747,1643],"行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[181,45],{"id":10752,"slug":10753,"title":10754,"dynasty":18,"author":1699,"museum":206,"description":10755,"tags":10756,"thumbUrl":10757,"material":27,"size":10758,"collection":42,"collections":10759,"showCount":10716,"zanCount":48,"manualWeight":48,"mainColor":49},221554,"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[7,209,23,24,25,28,27,106,34,176,806,1114,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[42,44,45],{"id":10761,"slug":10762,"title":10763,"dynasty":18,"author":1677,"museum":56,"description":10764,"tags":10765,"thumbUrl":10767,"material":573,"size":10768,"collection":42,"collections":10769,"showCount":10716,"zanCount":1104,"manualWeight":48,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[7,209,23,24,25,27,28,177,29,1322,108,111,106,31,10766,118,116,34],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[42,181,45],{"id":10771,"slug":10772,"title":1431,"dynasty":18,"author":2483,"museum":206,"description":10773,"tags":10774,"thumbUrl":10775,"material":123,"size":139,"collection":42,"collections":10776,"showCount":10716,"zanCount":48,"manualWeight":48,"mainColor":629},219942,"han-gong-chun-xiao-tu-zhao-bo-ju-219942","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[7,23,104,27,26,28,29,107,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccd5ae19644bbac9117abbd0f0ff532.jpg",[42],{"id":10778,"slug":10779,"title":10780,"dynasty":189,"author":645,"museum":20,"description":646,"tags":10781,"thumbUrl":10782,"material":409,"size":649,"collection":139,"collections":10783,"showCount":10716,"zanCount":48,"manualWeight":48,"mainColor":49},214290,"xiao-kai-luo-shen-fu-ce-4-zhao-meng-fu-214290","小楷洛神赋册-4",[7,86,621,8606,81,173,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d91818c9b6238032d2985f530917771.jpg",[],{"id":10785,"slug":10786,"title":10787,"dynasty":99,"author":170,"museum":222,"description":10788,"tags":10789,"thumbUrl":10791,"material":699,"size":10792,"collection":139,"collections":10793,"showCount":10794,"zanCount":2209,"manualWeight":48,"mainColor":94},231544,"huang-ju-dan-gui-tu-shen-zhou-231544","黄菊丹桂图","沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。\n王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺曾画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n《黄菊丹桂图》明沈周仿自元画家王若水之作，图绘菊花，桂树，芙蓉，翠竹。并一双飞鸟巨石，画面静雅，傅色清新，所绘繁多而布置深稳，是石田习古佳作。",[7,23,27,225,28,177,384,407,370,229,84,266,10790],"丹桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69bac105908ae029d92cf2cc1b6e776.jpg","288.5X106.3\u002F397.1x127.4厘米",[],129,{"id":10796,"slug":10797,"title":10798,"dynasty":99,"author":10799,"museum":20,"description":10800,"tags":10801,"thumbUrl":10803,"material":10804,"size":10805,"collection":90,"collections":10806,"showCount":10794,"zanCount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(长沙会战)","以酣畅泼墨晕染出马的雄健躯体，留白巧绘额间白羽，浓淡干湿尽显水墨意趣。鬃尾如疾风卷舒，似裹挟破空罡风，四蹄舒张带着雷霆之势，将奔马勃发的劲力定格于纸面。\n右侧题字寄寓滚烫热忱，将匹夫之勇揉作家国担当，让战马的骁勇与民族气节相融。跃然纸上的不止是灵动骏马，更是山河飘摇里的不屈意志，笔墨间藏着赤子滚烫的热血，把救亡图存的呐喊凝于笔端，化作这匹奔马一往无前的身影。",[7,23,24,173,400,150,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f32ea37393a260fa91ca3652fb06b5a.jpg",[],{"id":10826,"slug":10827,"title":10828,"dynasty":76,"author":1047,"museum":20,"description":10829,"tags":10830,"thumbUrl":10831,"material":409,"size":10832,"collection":90,"collections":10833,"showCount":10794,"zanCount":48,"manualWeight":48,"mainColor":94},218775,"lu-yan-tu-zhu-da-218775","芦雁图","图绘6只芦雁在水际岸边飞、鸣、行、止的瞬间。芦雁的造型准确严谨，动、静的体态表现得出神入化。其背部的羽毛是先以淡墨晕染，趁湿在淡墨上点以浓墨，浓淡墨交融处显现出羽毛柔软细密的质感和厚重的量感。图中描绘山石的笔墨老辣娴熟，石上的青苔以卧笔横锋点染，纵横随意中不失章法，其苔点与芦雁身上的墨点在笔法上形成呼应，令全幅深得酣畅淋漓之趣。",[7,23,173,225,400,3898,3899,283,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dede01fc11a7c1a00978bff3e757b.jpg","纵221.5厘米，横114.2厘米",[90],{"id":10835,"slug":10836,"title":10837,"dynasty":204,"author":1733,"museum":206,"description":10838,"tags":10839,"thumbUrl":10840,"material":123,"size":10841,"collection":44,"collections":10842,"showCount":10794,"zanCount":1337,"manualWeight":48,"mainColor":94},218751,"shui-xie-kan-fu-tu-zhou-wen-ju-218751","水榭看凫图","亭子的窗户敞开，帘子高高卷起，内部装饰着水波纹的座屏，座屏的边缘是红色的悬卷金花，这是宋代的一种时尚。两张方凳并排放置，凳子是用棕色藤条编织的，脚是如意形状。另一边是一张单剖面和双剖面的方桌，上面覆盖着白色披肩，摆放着金铜香炉和书籍。湖中有鸭子和海凫相互嬉戏，自然景观丰富。水榭旁有桃花、竹子和柳树等植物，还有一个覆盖着河边花草树木的私人大厅和亭子。露台的边上是水边的栏杆，女士从那里惊讶地看着这一幕。",[7,23,24,27,28,104,106,59,1084,175,34,10202,109,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6128558cce10db8152fce876cb20fb95.jpg","24.5x26.7厘米",[44],{"id":10844,"slug":10845,"title":10846,"dynasty":204,"author":366,"museum":311,"description":10847,"tags":10848,"thumbUrl":10849,"material":139,"size":139,"collection":139,"collections":10850,"showCount":10851,"zanCount":1104,"manualWeight":48,"mainColor":49},228764,"jin-hui-dui-tu-xu-xi-228764","锦灰堆图","此作以散落折枝、蔬果翎羽、虫草顽石攒合成卷，不假刻意经营却浑然谐和。笔底写生工致入微，设色清润古雅，将四时风物杂糅一堂，野卉柔叶、鲜菌佳果皆含生趣，蛱蝶蜻蜓穿梭其间，野逸灵动，尽显江南画派的淡冶生机。\n\n画间题跋盛赞其写生神妙，兼具宋人的写实工致与元人的简逸意趣，寻常野趣被点染成清雅可观的长卷，淡墨轻色间铺陈出闲散雅致的文人意韵，是草虫蔬果写生的绝佳范本。",[7,23,24,25,27,28,83,512,696,940,386,759,2267,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61754fc4a7f484e9027edfa11300a3.jpg",[],128,{"id":10853,"slug":10854,"title":10855,"dynasty":99,"author":397,"museum":206,"description":10856,"tags":10857,"thumbUrl":10858,"material":712,"size":10859,"collection":139,"collections":10860,"showCount":10851,"zanCount":48,"manualWeight":48,"mainColor":94},222234,"liu-shi-tu-zhou-xu-wei-222234","榴实图轴","该幅写石榴一枝，笔力强劲，水墨淋漓，是徐渭本色。右上方题识云：“山深熟石榴，向日笑开口；深山少人收，颗颗明珠走。文长。”书画二者两相辉映，超逸绝伦。",[7,23,173,225,83,86,263,400,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e07fd04d0daa125ff55aa8d5a720ce.jpg","91.4×26.6",[],{"id":10862,"slug":10863,"title":10864,"dynasty":18,"author":1677,"museum":101,"description":10865,"tags":10866,"thumbUrl":10867,"material":573,"size":10868,"collection":42,"collections":10869,"showCount":10851,"zanCount":1337,"manualWeight":48,"mainColor":49},221670,"shi-liu-la-zui-tu-ma-lin-221670","石榴蜡嘴图","马麟是马远之子，生卒年不详。马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。此《石榴蜡嘴》图页传为马麟所作，但据考，未确认。",[7,209,23,24,28,27,83,1153,370,926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7383521319c32631aeca0f4aaf74fe.jpg","纵27.3厘米，横27.3厘米",[42,90,45],{"id":10871,"slug":10872,"title":10873,"dynasty":76,"author":77,"museum":20,"description":10874,"tags":10875,"thumbUrl":10877,"material":841,"size":10878,"collection":163,"collections":10879,"showCount":10851,"zanCount":2209,"manualWeight":48,"mainColor":94},220981,"song-zhu-tu-yun-shou-ping-220981","松竹图","《松竹图》轴，本幅右上自题五绝一首并款署：“徒倚白云外，盘桓陶径深。\n相看惟石友，同有岁寒心。\n瓯香馆制，白云溪外史寿平。\n此图所绘松、竹、石是文人画家惯写的题材。\n因恽氏晚年自号“白云溪外史”，题画诗中首句“徒倚白云外”当为实写。\n“盘桓陶径深”出自陶渊明《归去来辞》，表达了作者拟学陶渊明而归隐白云溪之意。\n所绘松竹苍劲秀丽，画面所呈现出的明洁秀逸正是画家晚居时悠然淡逸心境的写照。",[7,23,24,225,173,27,403,226,10876,177],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac69767522d422b20ffb0fe1c00fbcf.jpg","纵135.8cm，横61.3cm",[163,1896],{"id":10881,"slug":10882,"title":10883,"dynasty":189,"author":645,"museum":206,"description":10884,"tags":10885,"thumbUrl":10886,"material":699,"size":10887,"collection":181,"collections":10888,"showCount":10851,"zanCount":48,"manualWeight":48,"mainColor":49},220861,"weng-you-tu-juan-zhao-meng-fu-220861","瓮牖图卷","本幅山石无皴，仅钩勒轮廓，后填以青绿，人物衣纹行笔柔畅有力，有唐人古风。画幅右下有千字文「索」字编号，卷后则有项元汴题识「明嘉靖卅年（1558）秋八月重装于天籁阁」，并有「原价五十两」之记述。",[7,209,23,25,26,27,29,176,34,108,114,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c265c6055d0d6827a4346a3f36f861.jpg","27.1×100.5cm",[181,45],{"id":10890,"slug":10891,"title":10892,"dynasty":99,"author":2146,"museum":447,"description":10893,"tags":10894,"thumbUrl":10899,"material":123,"size":10900,"collection":181,"collections":10901,"showCount":10851,"zanCount":2209,"manualWeight":48,"mainColor":49},219753,"he-shu-fu-long-tu-tang-yin-219753","鹤书赴陇图","画作以苍虬古松开篇，虬枝斜曳如龙，山间飞瀑直落深谷，涤荡山野清寂。板桥跨于寒溪之上，两位文士驻足松下，似正眺望远山，暂歇行旅劳顿。右侧山道车马随行，将赴陇的行旅意涵隐于画中。\n\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（1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[7,23,24,2497,27,177,29,108,109,174,866,1423,35,557,2380,11043,1871,151],"春雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],{"id":11048,"slug":11049,"title":11050,"dynasty":99,"author":278,"museum":2062,"description":11051,"tags":11052,"thumbUrl":11054,"material":538,"size":11055,"collection":139,"collections":11056,"showCount":11036,"zanCount":1104,"manualWeight":48,"mainColor":629},222142,"san-da-shi-tu-pu-xian-yi-ming-222142","三大士图-普贤","普賢菩薩圖位於水月觀音圖之東。普賢菩薩梵文為“三曼多跋羅”，即普遍賢善之意，通常作釋迦佛的右脅侍，專司“理德”，表“大行”。普賢的特徵是頭戴五佛寶冠，乘騎六牙白象，一般手執蓮花，上有利劍”。同一菩薩，不同經書，對手持法物有不同解釋。法海寺壁畫普賢是右手持蓮花，蓮花上置一寶卷。\n普賢的坐騎六牙白象，並不是自然界中真實動物，六牙白像是一種象徵，表示到達彼岸的六種方法。六牙白象雖非真實動物，但壁畫中的六牙白象，捲曲蹲坐的姿態，具有大威力感。再細看白象眼睛是淚汪汪的，具有情感，強化了它的性善柔順，“佛眼淚眼”，突出了普賢的“大慈”形象。感染力很強，沒有高超的繪畫技巧，是不會引起觀眾共鳴的。\n普賢菩薩的左下部繪一信士，稱最勝老人。最勝老人是古印度念佛行者、施主、供養人的尊稱。老人身著綠袍，兩腳分開，雙手胸前相合，目視前方，長髯自然下垂，在沉思，在默禱，像在祝願十方世界救出眾生、脫離苦海。壁畫上這一信士和文殊右下部那一信士，東西對稱，他們同是老人，信仰一致，願望相同，而一仰望一沉思，一扶杖抬手一雙合十，一動一靜，神態各異，反映了現實生活的多樣性，也反映了壁畫構思的巧秒。",[7,538,27,28,243,106,11053,63],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe8d5a14d19329266f0933f5ed0a3b3.jpg","摹本的尺寸規格分別是壁畫約四分之一和二分之一；",[],{"id":11058,"slug":11059,"title":11060,"dynasty":18,"author":11061,"museum":1666,"description":11062,"tags":11063,"thumbUrl":11066,"material":67,"size":11067,"collection":42,"collections":11068,"showCount":11036,"zanCount":1104,"manualWeight":48,"mainColor":49},221555,"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[7,209,23,24,28,173,27,11064,808,11065,8725],"猴","金泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[42,90,45],{"id":11070,"slug":11071,"title":11072,"dynasty":18,"author":461,"museum":101,"description":11073,"tags":11074,"thumbUrl":11075,"material":573,"size":11076,"collection":42,"collections":11077,"showCount":11036,"zanCount":1337,"manualWeight":48,"mainColor":49},221391,"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[7,23,24,25,29,177,27,176,34,37,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[42,181,163],{"id":11079,"slug":11080,"title":11081,"dynasty":949,"author":1940,"museum":11082,"description":11083,"tags":11084,"thumbUrl":11085,"material":11086,"size":139,"collection":139,"collections":11087,"showCount":11036,"zanCount":48,"manualWeight":48,"mainColor":94},220489,"zhu-mei-zhang-da-qian-220489","竹梅","The Chinese University of Hong Kong Library","此作以跨页小品写就，水墨清简疏淡。左侧修竹瘦劲挺拔，寥寥数笔写出竹叶翩然之姿，清峻孤高自带霜节。右侧梅枝横斜而出，淡墨圈花，花苞轻绽，冷香暗浮于留白之中。\n\n画面以少胜多，将竹之劲节与梅之清癯相融，寥寥逸笔尽显岁寒二友的君子风骨。题款墨色苍劲古雅，朱印点染提亮，文人情趣浑然天成。整幅淡墨浅痕却余韵悠长，把东方水墨的留白意趣藏在疏枝瘦叶之间，清冷雅致，尽显写意之妙。",[7,23,24,81,173,402,226,263,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928a3a570439bf1c01d26bb75a5c21e.jpg","Ink and colour on paper",[],{"id":11089,"slug":11090,"title":11091,"dynasty":99,"author":100,"museum":206,"description":11092,"tags":11093,"thumbUrl":11094,"material":123,"size":11095,"collection":44,"collections":11096,"showCount":11036,"zanCount":1104,"manualWeight":48,"mainColor":49},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[7,23,209,24,28,27,104,106,107,29,34,266,2279,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[44,45],{"id":11098,"slug":11099,"title":11100,"dynasty":76,"author":10288,"museum":447,"description":11101,"tags":11102,"thumbUrl":11103,"material":88,"size":11104,"collection":181,"collections":11105,"showCount":11036,"zanCount":48,"manualWeight":48,"mainColor":94},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡[kūn]残（1612年-1692年），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[7,23,24,29,173,177,865,174,109,557,770,37,34,111,31,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[181],{"id":11107,"slug":11108,"title":1720,"dynasty":18,"author":278,"museum":206,"description":11109,"tags":11110,"thumbUrl":11112,"material":123,"size":11113,"collection":90,"collections":11114,"showCount":11036,"zanCount":2209,"manualWeight":48,"mainColor":49},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[7,209,23,24,225,28,27,83,402,226,370,11111,176,84],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[90],{"id":11116,"slug":11117,"title":11118,"dynasty":189,"author":645,"museum":132,"description":9005,"tags":11119,"thumbUrl":11120,"material":123,"size":139,"collection":90,"collections":11121,"showCount":11036,"zanCount":1314,"manualWeight":48,"mainColor":49},216266,"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1",[7,23,24,209,81,27,28,244,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[90],{"id":11123,"slug":11124,"title":11125,"dynasty":99,"author":397,"museum":206,"description":11126,"tags":11127,"thumbUrl":11130,"material":409,"size":11131,"collection":328,"collections":11132,"showCount":11036,"zanCount":48,"manualWeight":48,"mainColor":94},214213,"xing-shu-qi-yan-lian-xu-wei-214213","行书七言联","释文：水夕苍蚊残夏扇。河间红树早秋棃。秋霜先生咲览。天池山人徐渭书。",[7,23,24,86,225,7024,178,173,7002,1365,11128,11129],"秋水","梨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cccc9d7148d5550a49ac995d9474fe6.jpg","132.2x32.4",[328],{"id":11134,"slug":11135,"title":11136,"dynasty":76,"author":336,"museum":311,"description":11137,"tags":11138,"thumbUrl":11139,"material":139,"size":139,"collection":139,"collections":11140,"showCount":11141,"zanCount":1337,"manualWeight":48,"mainColor":49},230202,"qian-long-di-hou-fei-xiang-juan-lang-shi-ning-230202","乾隆帝后妃像卷","郎世宁绘制的《乾隆肖像》是圆明园 珍品，是乾隆皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n原属圆明园收藏 【名称】：乾隆肖像 【类别】：字画 【年代】：清 【文物原属】：原属 收藏 【文物现状】： 【简介】： 绘制的《乾隆肖像》是 艺术品珍品，是 皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n乾隆皇帝主政的六十年中，甚为重视学术文化的整理和弘扬。\n其中以乾隆叁十八年（177）开始的 编纂工作最为令人称道。\n他聚集 、 、 、 等著名学者，将中国历代重要典籍整理并钞录下来，分隶于四部四十四类之下。\n全书卷帙浩繁、包罗万千，可谓中国传统学术文化的一次总整理，也是十八世纪当时学风的充分呈现。\n郎世宁（Giuseppe Castiglione‎,1688—1766）是意大利人，生于米兰，清康熙帝五十四年（1715）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙帝、雍正帝、乾隆帝的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾隆帝时 的代表人物。\n他的代表作品有《聚瑞图》、《嵩献英芝图》、《百骏图》（见插图）、《弘历及后妃像》、《 》等。",[7,23,24,315,28,27,25,106,63,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d20cbf88f26d2d9ea6382115ba01bed.jpg",[],125,{"id":11143,"slug":11144,"title":11145,"dynasty":18,"author":278,"museum":206,"description":11146,"tags":11147,"thumbUrl":11148,"material":573,"size":11149,"collection":139,"collections":11150,"showCount":11141,"zanCount":1104,"manualWeight":48,"mainColor":49},223516,"tao-hua-shan-niao-tu-yi-ming-223516","桃花山鸟图","此图采用双钩填彩法，用线工整挺秀、生动流畅、柔中带刚，画家追求的不是线的形式变化，而是对质感的表达。花瓣密集写实，鸟的羽毛细而柔，尾羽敷红色，有透明感。画面色彩雅致，鲜花轻敷淡染，一点也不矫揉造作。",[7,209,23,24,28,27,83,264,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8e8efee647a398a24f78c3f1f84561.jpg","纵23.8厘米横24.4厘米",[],{"id":11152,"slug":11153,"title":11154,"dynasty":18,"author":1699,"museum":206,"description":11155,"tags":11156,"thumbUrl":11157,"material":573,"size":11158,"collection":42,"collections":11159,"showCount":11141,"zanCount":48,"manualWeight":48,"mainColor":49},221544,"shi-ba-xue-shi-tu-juan-liu-song-nian-221544","十八学士图卷","作品描绘十八学士们的雅集生活。唐初十八学士这一历史，传到两宋，已经成为了典故。这些雅集活动大多不可缺少琴、棋、书、画四样东西。此外，歌舞曲艺、古玩彝器、诗词歌赋酒美食也都成为宋人文人雅集时候所常见的内容。",[7,23,24,25,28,27,106,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292859c44e3f3bde81de6bbfbd870ca.jpg","44.5x182.3",[42,44,45],{"id":11161,"slug":11162,"title":8021,"dynasty":99,"author":11163,"museum":6772,"description":11164,"tags":11165,"thumbUrl":11166,"material":88,"size":139,"collection":181,"collections":11167,"showCount":11141,"zanCount":1337,"manualWeight":48,"mainColor":49},219921,"qing-lv-shan-shui-tu-wen-jia-219921","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[7,23,24,225,26,27,29,177,466,34,106,176,109,3024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg",[181],{"id":11169,"slug":11170,"title":11171,"dynasty":189,"author":190,"museum":447,"description":11172,"tags":11173,"thumbUrl":11174,"material":327,"size":139,"collection":181,"collections":11175,"showCount":11141,"zanCount":48,"manualWeight":48,"mainColor":49},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[7,23,24,225,173,177,29,557,34,3024,468,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[181],{"id":11177,"slug":11178,"title":11179,"dynasty":189,"author":645,"museum":132,"description":11180,"tags":11181,"thumbUrl":11182,"material":327,"size":139,"collection":90,"collections":11183,"showCount":11141,"zanCount":1314,"manualWeight":48,"mainColor":49},219039,"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[7,23,209,244,28,173,27,106,150,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[90,44],{"id":11185,"slug":11186,"title":11187,"dynasty":18,"author":3584,"museum":206,"description":11188,"tags":11189,"thumbUrl":11190,"material":123,"size":11191,"collection":181,"collections":11192,"showCount":11141,"zanCount":1337,"manualWeight":48,"mainColor":49},218960,"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[7,23,24,173,29,174,866,229,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[181],{"id":11194,"slug":11195,"title":11196,"dynasty":18,"author":278,"museum":206,"description":11197,"tags":11198,"thumbUrl":11199,"material":123,"size":11200,"collection":42,"collections":11201,"showCount":11141,"zanCount":2209,"manualWeight":48,"mainColor":49},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[7,23,24,29,27,173,177,2607,4208,108,109,174,1542,867,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[42,181],{"id":11203,"slug":11204,"title":11205,"dynasty":189,"author":7354,"museum":4889,"description":11206,"tags":11207,"thumbUrl":11208,"material":123,"size":139,"collection":181,"collections":11209,"showCount":11141,"zanCount":48,"manualWeight":48,"mainColor":49},218720,"teng-wang-ge-tu-wang-zhen-peng-218720","滕王阁图","笔尖游走绢素，界尺起落间，滕王阁飞檐翘角如振翅鹏鸟，跃然眼前。斗拱层叠似琴键排开，梁柱线条刚劲含韵，每处榫卯藏着匠人之谨与画师之巧。楼阁依山傍水，石阶蜿蜒入林，与葱郁草木相映成趣。远山如黛，烟波浩渺，一叶孤舟在水天之际轻漾，为宏伟建筑添了空灵悠远。整幅画将建筑理性之美与山水诗意之韵交织，既见界画精准工致，又含文人画雅致情怀，让千年名楼的巍峨气象与天地灵秀之气，在古卷中静静流淌，尽显元代画坛独特风貌。",[7,23,24,104,244,173,29,107,174,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e4ffe86b2585108496c06f20abcf64.jpg",[181],{"id":11211,"slug":11212,"title":11213,"dynasty":18,"author":1137,"museum":206,"description":11214,"tags":11215,"thumbUrl":11216,"material":123,"size":11217,"collection":90,"collections":11218,"showCount":11141,"zanCount":2209,"manualWeight":48,"mainColor":94},218395,"qiu-qing-cong-ju-tu-lin-chun-218395","秋晴丛菊图","绢本之上，丛菊攒簇若繁星，瓣瓣晕染细腻，边缘隐带淡白如凝秋霜，似含晴阳余温。叶片脉络清晰，叠翠间藏露生机，全无萧瑟之感。淡赭底色如晴秋薄暮，衬得菊色愈显清妍。旁侧墨笔题跋与朱印相映，文气与画韵交融，尽得雅致。笔触轻细却含筋骨，没骨技法藏锋于柔，将秋晴时菊丛的疏朗鲜活凝于尺幅，观之如沐和风，似闻暗香浮动，心随花影渐远，满溢淡然幽趣。",[7,209,23,24,28,27,83,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750cb01efbb3fd284998c56993afeae5.jpg","25x26.5cm",[90],{"id":11220,"slug":11221,"title":11222,"dynasty":189,"author":4438,"museum":206,"description":11223,"tags":11224,"thumbUrl":11225,"material":123,"size":11226,"collection":181,"collections":11227,"showCount":11141,"zanCount":1337,"manualWeight":48,"mainColor":49},218137,"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[7,23,24,29,106,173,27,34,176,37,177,5613,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","纵135.3厘米、横59厘米",[181],{"id":11229,"slug":11230,"title":4215,"dynasty":18,"author":676,"museum":311,"description":10466,"tags":11231,"thumbUrl":11232,"material":2164,"size":2165,"collection":139,"collections":11233,"showCount":11234,"zanCount":1337,"manualWeight":48,"mainColor":94},289751,"xi-yuan-ya-ji-tu-li-gong-lin-289751",[7,209,23,25,244,173,106,226,806,176,5187,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed8d9f7cb34c0f070daee4971c5f00e.jpg",[],124,{"id":11236,"slug":11237,"title":11238,"dynasty":99,"author":170,"museum":311,"description":11239,"tags":11240,"thumbUrl":11242,"material":2164,"size":2165,"collection":139,"collections":11243,"showCount":11234,"zanCount":1337,"manualWeight":48,"mainColor":94},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[7,209,23,464,25,29,2352,177,86,178,263,176,34,35,109,174,175,1265,11241,5535,266,108,1423,866],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],{"id":11245,"slug":11246,"title":11247,"dynasty":76,"author":522,"museum":56,"description":11248,"tags":11249,"thumbUrl":11251,"material":699,"size":11252,"collection":139,"collections":11253,"showCount":11234,"zanCount":2209,"manualWeight":48,"mainColor":94},222670,"liu-tang-shuang-lu-huang-shen-222670","柳塘双鹭","图中垂柳依依、双鹭觅食，展现一派春意盎然、生机勃勃的景象。几株柳树从画面右侧斜伸入画，树干交错，极富形式美感。柔软的柳枝轻盈地飘垂下来，疏落的柳叶上淡淡的绿意为画面营造出春的气息。两只白鹭相向而立，在池塘中聚精会神地觅食，与斜欹的柳树相映成趣。春柳扶疏，白鹭相伴，虽物象简单却极富情致。\n此图观其整个画面，笔墨洗练，劲爽流畅，勾斫点染，乍看似不经意，却显示了他熟练的技巧。画幅左侧以大片的空白表现茫茫的水面，右侧近处有二棵垂柳在水边拔地而起，粗根如疙瘩似的，且露裸出土。两枝柳树，一浓一淡，老干粗大挺拔，直冲而上，伸展至画幅顶端；另一枝斜出向左倾斜，与老干相穿插，枝叶相交，错落有致。条条柳枝垂挂而下，嫩叶萌发，呈现出勃勃生机，已是初春的时节，垂柳下的湖塘水边，有两只白鹭立于浅水中觅食。左侧一鹭两腿弯曲，前身向前倾斜，尾部朝天，正在啄食；右侧一只白鹭，侧身仰首，一条右腿弯曲上提，伸长脖颈正在啄食，神态自然，生动逼真，这两只白鹭的举止，打破了宁静气氛，出现在画幅的中心，点出了此画的主题，给人们留下逗情的印象。画幅左侧作者自题诗：“青山淡抹走轻烟，杨柳高楼大道边；闲煞春光看振鹭，一拳撑破水中天？”这幅画的作者自题诗，乍看书写草草，却显得十分流畅自然，细察之，则笔情墨韵盎然，大可为画幅增色；署“瘿瓢子写”。钤“黄慎”朱文印、“瘿瓢”白文印。右下角钤“东海布衣”白文印。\n柳树老干用大笔浓墨写出，柳树主干多皴结，显示柳的苍老。两棵柳树分别用浓淡干湿不一的笔墨写出，呈现出一浓一淡的特色。对于水的描绘，黄氏以简代繁，不直接去描写水，而是在二只白鹭啄食处用淡笔曲折一抹，抹出了水的波纹。二只白鹭用枯笔寥寥数笔，挥写而就，形态逼真，神形俱全。",[7,23,464,400,225,1322,4207,11250,83,173],"水塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00fadd85ec383330dcc97cfc99ec55e.jpg","纵139厘米，横62.5厘米",[],{"id":11255,"slug":11256,"title":1462,"dynasty":76,"author":4192,"museum":311,"description":11257,"tags":11258,"thumbUrl":11259,"material":3812,"size":11260,"collection":181,"collections":11261,"showCount":11234,"zanCount":48,"manualWeight":48,"mainColor":94},222619,"shan-shui-tu-gong-xian-222619","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。\n\n绘画:\n龚贤是位既注重传统笔墨又注重师法造化的山水画家。其创作以五代董源、巨然的画法为基础，以宋初北方画派的笔墨为主体，参以二米（米芾、米友仁父子）、吴镇及沈周等人的笔风墨韵，同时结合自己对自然山水的观察和感受，形成了浑朴中见秀逸的积墨法，不同于清初以王时敏为首的“四王”所倡导的笔笔有古意的创作格法。作品多写金陵山水，长于用墨。\n龚贤喜用老辣朴拙的笔触，沉着稳重，秃笔与尖笔兼用。秃笔，取之圆润苍劲，勾屋，皴擦，画树和点苔苍老有力。龚贤用笔在主张“欲秀而老”，秀而老就是准确、简练而流畅有变化。画家程正揆在赠龚贤的诗中道：“铁干银钩老笔翻，力能从简意能繁”，这很好地点出了龚贤在用笔上的特点和成就。他提出笔法、墨气、丘壑、气韵作为画家四要，主张作画要中锋用笔，并且要古、健、老、苍，才能避免刻、结、板之病，颇为精辟。龚贤用墨，以层层积墨见长，虽不用泼墨，实具有泼墨烟润淋漓的效果，颇有宋人的用墨特点。其画山石树木中锋用笔，苍劲古厚，并用积墨法作反复皴擦积染，多至十几层，墨色极为浓重，但仍有深浅、浓淡、明暗等细微变化，山石树木往往浑融一体，仅在阳面或轮廓边缘处留出些许高光和坚实的轮廓，效果强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。龚贤作画最善用墨，主张墨气要厚、润，他发展了积墨画法，龚贤精研此法是追求一种苍润的境界，他以干笔作墨骨，再以层层皴染包润之，令山林树木呈现出鲜润沉厚的墨韵，使画面湿润厚重之感，这种画法适于表现江南湿意浓重的山水景色，同时也使龚贤的绘画具有了一种深郁静穆的格调。龚贤的画法分两类，世称“墨龚”和“白龚”。他善用黑白对比的技法，前者浓密苍茫，后者简淡雅洁。他在《半千课徒画说》中称：“非黑，无以显其白；非白，无以利其黑。”又如《平远小景》图（册页，纸本水墨）中所画的房屋，简洁明丽，在周围笔墨的映衬下，洁白的屋墙似乎透出光亮。此处即用黑白对比的技法。\n龚贤的山水画非常重视构图。他的画视野开阔，气象万千。他的“三远”构图原则，发挥得淋漓尽致，出神入化。他往往提高视线的角度，“平远”构图，多采取俯视角度，这样，视野开阔，平淡中倍增飘渺的感觉。尺幅之中，山河无尽。作“高远”构图，也是如此，先俯视，尔后眼光往上作仰视，真有下揽深谷、上突危峰的气概。他十分注重上下的位置。他的山水画一般很“满”，但“满”而不塞，常常用云带、流水作为空白透气。从整个画面来说，很有气韵。这才是龚贤的笔、墨、丘壑浑然一体的韵，从而创造出有地方特色的山水画。他是当之无愧的“金陵画派”的首领。\n龚贤之子龚柱，字础安，山水面目极似其父，只是烘染略少而已。\n\n诗作:\n龚贤是先以诗歌闻名于世的。客居海安、扬州时期，龚贤创作了大量诗歌，居扬州期间，在六年内作诗二百多首，是他一生中写诗最多的时期，传于后世的《草香堂集》共收诗203首，其中题画诗仅8首。可见那时期他作画不多，诗却写了不少。《草香堂集》中的诗大部分反映了他在海安、扬州时的生活经历和思想状况。他的诗很有特色，其好友方文在《喜龚半千还金陵》诗中赞他“更妙是诗篇，浑朴复雄放”；龚贤自己曾在《生日作》中谦逊地说：“余生皆酒力，不幸以诗名。”郭沫若曾评龚诗曰：“半千的诗虽然不多，大率精炼，颇有晚唐人风味。”在扬州，喜爱晚唐诗的龚贤还着手进行中晚唐诗歌的汇集整理工作，这一艰巨工作持续了数十年，被好友周亮工赞为“中晚唐之功臣也”。\n龚贤之诗作，一经开篇，则清逸之气沁人心脾，极显清疏淡雅之姿，如云流水池，一气呵成。其律绝句中鲜见用典，惟其《赠罗使君》一篇七古二十四韵中竟用了三十二个典故。窥一斑而知全豹，诗人腹笥藏书之富，非同一般。通常避而不用者，意在畅情而已。虽其谴词造句似属平易，然再经咀嚼，则有一种清新爽口之感。关键在于诗人抓住了现实生活中最富有诗意的景象和最触动自己心灵的情节，以简洁的艺术语言淋漓酣畅地表达无遗。这既是诗，亦是文，流畅似水，通俗如话，无诘屈聱牙之句，无冷僻难解之点。这表明诗人极具质朴的创作精神，从不故作哗众取宠惊人之笔，这又恰恰与他的绘画的艺术追求殊途同归。\n龚贤懂诗、爱诗、惜诗。他曾花费数十年的时间，以极大的毅力进行中晚唐诗的搜集、选编工作。为此，他曾“大索天下”，觅得百余家“多人未见本”（即未曾被收编入书的）主要靠自己出资刻印了七十四家。",[7,23,173,177,225,29,176,34,3024,469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纵110厘米，横50厘米",[181,163],{"id":11263,"slug":11264,"title":11265,"dynasty":18,"author":10082,"museum":20,"description":11266,"tags":11267,"thumbUrl":11270,"material":40,"size":11271,"collection":139,"collections":11272,"showCount":11234,"zanCount":2209,"manualWeight":48,"mainColor":94},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[7,23,24,25,173,27,177,28,29,1083,11268,176,34,109,174,1542,11269,108,266,37,86,178,263],"小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":11274,"slug":11275,"title":11276,"dynasty":949,"author":950,"museum":5239,"description":11277,"tags":11278,"thumbUrl":11279,"material":139,"size":139,"collection":139,"collections":11280,"showCount":11234,"zanCount":2209,"manualWeight":48,"mainColor":94},220607,"qian-niu-hua-qing-ting-tu-zhou-qi-bai-shi-220607","牵牛花蜻蜓图轴","此作以浓墨挥写牵牛藤蔓叶片，干湿浓淡错落，尽显叶片俯仰向背的参差生机。艳红牵牛花以明快色彩点染晕开，将朝颜盛放的娇妍鲜活定格。\n\n只以寥寥数笔勾勒蜻蜓，身形轻薄灵动，似振翅欲停于藤蔓间，为画面添就乡野清晨的鲜活野趣。右上角题字朴拙老辣，与画作笔墨相映成趣。\n\n整幅简而不空，繁而不乱，将日常乡野意趣凝于尺幅，以写意之笔把寻常风物化作清雅动人的画中诗意。",[7,23,24,225,173,27,83,694,696,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ccdfe4e554c859984e3ce344cbe197.jpg",[],{"id":11282,"slug":11283,"title":6573,"dynasty":18,"author":278,"museum":206,"description":11284,"tags":11285,"thumbUrl":11286,"material":123,"size":11287,"collection":90,"collections":11288,"showCount":11234,"zanCount":1104,"manualWeight":48,"mainColor":49},219236,"mei-que-tu-yi-ming-219236","图绘细雪飘花，山喜鹊一双，倚偎于梅梢上。梅枝勾勒，线条精整，画中梅，圈瓣以淡墨细线为之，外围复以白粉提醒，萼则以胭脂红敷染，色彩搭配，虽不繁复，令人有如于雪光下，见清雅君子，一尘不染。宋人作画重理，画花尤重写生，此幅足为一例。前人论画梅，枝干交错之法，有如「女」字，此幅虽为写生一枝，亦于此法符合。",[7,23,24,83,28,27,402,4541,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ee8eb63474c1ac957d63dde5b26a63.jpg","25.5x29cm",[90],{"id":11290,"slug":11291,"title":11292,"dynasty":18,"author":11293,"museum":677,"description":11294,"tags":11295,"thumbUrl":11296,"material":699,"size":11297,"collection":44,"collections":11298,"showCount":11234,"zanCount":972,"manualWeight":48,"mainColor":94},219113,"ming-fei-chu-sai-tu-zhao-jun-chu-sai-tu-gong-su-ran-219113","明妃出塞图(昭君出塞图)","宫素然","全幅气势开合起伏，将艰难行进在寒风凛列的朔野之中的和亲队伍的情境绘制出来，非常真切地再现了昭君出塞的动人场面。",[7,23,209,25,244,173,106,150,9308,59,263,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3db2cf109c619db1fdd8f9878077f27.jpg","30.2cm，横160.2cm",[44],{"id":11300,"slug":11301,"title":11302,"dynasty":76,"author":11303,"museum":20,"description":11304,"tags":11305,"thumbUrl":11306,"material":123,"size":11307,"collection":44,"collections":11308,"showCount":11234,"zanCount":1314,"manualWeight":48,"mainColor":49},215859,"chong-qing-huang-tai-hou-wan-shou-qing-dian-tu-zhang-ting-yan-215859","崇庆皇太后万寿庆典图","张廷彦","弘历皇帝的生母崇庆皇后的60岁生日，举行了盛大的庆祝活动。文武百官齐聚北京，从西华门到西直门的高梁桥下，十几里路的灯光，戏曲、杂技、舞蹈等各类文艺节目，让人目不暇接。这幅四卷画真实地再现了当时的生日庆典和戏剧表演的场景，是清代戏曲的重要图像资料。",[7,209,23,24,25,28,27,106,107,4230,247,4140,7258,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb231085edcd0f7668e9adde95214bce.jpg","64.5x2994",[44],{"id":11310,"slug":11311,"title":11312,"dynasty":189,"author":645,"museum":20,"description":11313,"tags":11314,"thumbUrl":11315,"material":11316,"size":11317,"collection":328,"collections":11318,"showCount":11319,"zanCount":2209,"manualWeight":48,"mainColor":49},239648,"lin-lan-ting-xu-juan-zhao-meng-fu-239648","临兰亭序卷","此卷原在赵孟頫“定武兰亭”十六跋后，之后被人分割，另装在南宋翻刻兰亭拓本后面。赵孟頫一生对《兰亭序》极为推重，曾反复临写，此件是其晚年所临，笔法精良。加之此卷前面有南宋翻刻定武《兰亭序》拓本，以及前后尤袤、王厚之、张翥、王蒙等宋元名家题跋，更为珍贵。本幅另有清代庆锡题跋一段。\n释文（略）。本幅款署“子昂”\n鉴藏印“伯谦精鉴”、“伯谦审定真迹”、“绍庭审定”、“蛰蛰公书画”“龙友过眼”等。",[7,105,178,25,86,24,622,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ea3e89479876fe37bc518a1e7ae087.jpg","绢本，行书","纵27.4厘米，横102厘米，28行，324字",[328],123,{"id":11321,"slug":11322,"title":11323,"dynasty":1483,"author":1484,"museum":311,"description":11324,"tags":11325,"thumbUrl":11326,"material":139,"size":139,"collection":139,"collections":11327,"showCount":11319,"zanCount":48,"manualWeight":48,"mainColor":49},227043,"nv-shi-zhen-tu-juan-tang-mo-ben-gu-kai-zhi-227043","女史箴图卷（唐摹本）","《女史箴图》卷（宋摹），东晋，顾恺之绘，纸本，墨笔，横601厘米，纵27.9厘米。\n《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。\n引首为乾隆帝御书“王化之始”四字，后有包希鲁、谢询、张美和、赵谦等题记。本幅钤乾隆、嘉庆、宣统、梁清标等印22方。《石渠宝笈初编》卷32、35著录。",[7,209,23,24,25,244,27,106,808,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca625f9e64012baaba56c85b5e980dc2.jpg",[],{"id":11329,"slug":11330,"title":11331,"dynasty":76,"author":2924,"museum":311,"description":11332,"tags":11333,"thumbUrl":11334,"material":139,"size":139,"collection":139,"collections":11335,"showCount":11319,"zanCount":48,"manualWeight":48,"mainColor":94},224379,"hua-hui-qi-shi-ce-shi-er-kai-9-ju-lian-224379","花卉奇石册-十二开-9","此作以清供小品入画，湖石以淡墨枯笔皴擦勾勒，朴拙空灵，带着苍古沉静的质感。蚌壳盛着素白茉莉，花瓣晕染柔润饱满，似将幽微花香凝于绢面。石畔垂悬的圆叶小花，以青绿轻敷鲜活透亮，柔润花叶和苍劲湖石形成刚柔对照。\n没骨笔法细腻写实，设色明秀淡雅，将案头闲情雅致尽皆铺展，把寻常清玩绘出隽永诗意，尽显文人心底的幽居雅趣。",[7,23,24,81,27,28,229,84,263,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca79a5b6e1c9fa0841b71698cbf4c7c.jpg",[],{"id":11337,"slug":11338,"title":11339,"dynasty":18,"author":708,"museum":206,"description":11340,"tags":11341,"thumbUrl":11345,"material":302,"size":11346,"collection":42,"collections":11347,"showCount":11319,"zanCount":48,"manualWeight":48,"mainColor":49},221572,"xi-hu-liu-ting-tu-zhou-xia-gui-221572","西湖柳艇图轴","西湖柳艇图画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[7,209,23,173,225,29,1322,11342,1084,11343,11344,106,108,109,174,28],"长堤","湖舍","画舫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d0b03ccc5a62ec9034caad9749d55.jpg","纵107.2厘米，横59.3厘米",[42,181,163],{"id":11349,"slug":11350,"title":11351,"dynasty":76,"author":77,"museum":206,"description":11352,"tags":11353,"thumbUrl":11354,"material":527,"size":139,"collection":90,"collections":11355,"showCount":11319,"zanCount":1337,"manualWeight":48,"mainColor":94},220979,"ping-shan-mian-hua-ce-yun-shou-ping-220979","平扇面畫冊","扇面顧名思義就是扇子形狀的一個面，在幾何上是這樣定義何為扇形的：一條弧和經過這條弧兩端的兩條半徑所圍成的圖形叫扇形，那麼扇面是不是就是一個扇形的面呢？其實並不是。\n現多指為書畫作品的一種形式，分為摺扇和團扇。",[7,1352,82,27,83,369,84,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7984a13c489e6e7b3ce49166670d47.jpg",[90,45],{"id":11357,"slug":11358,"title":11359,"dynasty":189,"author":645,"museum":11360,"description":11361,"tags":11362,"thumbUrl":11364,"material":699,"size":11365,"collection":328,"collections":11366,"showCount":11319,"zanCount":1314,"manualWeight":48,"mainColor":94},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[7,86,178,25,24,173,263,174,266,109,11363,407,2279],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[328],{"id":11368,"slug":11369,"title":11370,"dynasty":99,"author":1014,"museum":7087,"description":11371,"tags":11372,"thumbUrl":11373,"material":2916,"size":11374,"collection":139,"collections":11375,"showCount":11319,"zanCount":48,"manualWeight":48,"mainColor":139},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[7,23,24,209,29,177,27,176,34,37,106,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":11377,"slug":11378,"title":11379,"dynasty":949,"author":1940,"museum":132,"description":11380,"tags":11381,"thumbUrl":11384,"material":88,"size":11385,"collection":181,"collections":11386,"showCount":11319,"zanCount":48,"manualWeight":48,"mainColor":94},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[7,209,23,24,173,27,400,177,29,109,174,108,466,34,176,37,35,1422,11382,11383],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[181,45],{"id":11388,"slug":11389,"title":11390,"dynasty":18,"author":3466,"museum":311,"description":4890,"tags":11391,"thumbUrl":4892,"material":409,"size":11393,"collection":139,"collections":11394,"showCount":11319,"zanCount":2209,"manualWeight":48,"mainColor":94},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪",[7,209,23,24,2042,173,400,11392,1218,734,282,34,1775,37,9672,3318],"禅画","29.5X94.4厘米",[],{"id":11396,"slug":11397,"title":11398,"dynasty":18,"author":3884,"museum":206,"description":11399,"tags":11400,"thumbUrl":11403,"material":123,"size":11404,"collection":42,"collections":11405,"showCount":11319,"zanCount":48,"manualWeight":48,"mainColor":49},220144,"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[7,1004,4689,27,8725,1904,11401,6881,404,11402,136,1628,386,137,266],"细腻笔触","蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 133公分",[42,90],{"id":11407,"slug":11408,"title":11409,"dynasty":18,"author":1419,"museum":132,"description":11410,"tags":11411,"thumbUrl":11412,"material":123,"size":11413,"collection":42,"collections":11414,"showCount":11319,"zanCount":48,"manualWeight":48,"mainColor":49},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[7,209,23,24,29,173,27,177,734,384,175,37,106,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 x 101.4",[42],{"id":11416,"slug":11417,"title":11418,"dynasty":18,"author":2297,"museum":206,"description":11419,"tags":11420,"thumbUrl":11421,"material":123,"size":11422,"collection":45,"collections":11423,"showCount":11319,"zanCount":48,"manualWeight":48,"mainColor":94},219947,"li-nu-xiao-ying-tu-li-di-219947","狸奴小影图","猫在古代文人的笔下，也名狸奴，“猫”谐音“耄”，有长寿的吉祥寓意，成为入画的好题材。中国画史上曾出现过不少善画猫的名家，这幅画的作者李迪，就是其中之一。",[7,23,24,209,81,28,27,807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e16cdf4bf4cb0f1950637379b428d38.jpg","23.6x24.1cm",[45],{"id":11425,"slug":11426,"title":11427,"dynasty":99,"author":1025,"museum":101,"description":11428,"tags":11429,"thumbUrl":11430,"material":123,"size":139,"collection":44,"collections":11431,"showCount":11319,"zanCount":972,"manualWeight":48,"mainColor":94},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[7,23,24,25,27,28,178,621,263,86,106,34,175,1641,210,9194,63,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[44,328],{"id":11433,"slug":11434,"title":11435,"dynasty":204,"author":2114,"museum":447,"description":11436,"tags":11437,"thumbUrl":11441,"material":123,"size":11442,"collection":90,"collections":11443,"showCount":11319,"zanCount":1337,"manualWeight":48,"mainColor":49},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[7,23,209,24,28,27,225,451,924,266,11438,2310,10766,866,7803,176,11439,1628,11440,1776],"白鹅","水泊","水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[90,181],{"id":11445,"slug":11446,"title":11447,"dynasty":204,"author":7615,"museum":206,"description":11448,"tags":11449,"thumbUrl":11450,"material":123,"size":11451,"collection":181,"collections":11452,"showCount":11319,"zanCount":1337,"manualWeight":48,"mainColor":49},218927,"dai-du-tu-guan-tong-218927","待渡图","这幅画描绘了一个高高士在野外穿越时等待船只的情景，笔触和墨迹高度变化，并有一个边缘的场景。",[7,23,24,29,177,173,176,34,31,116,10766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0234b4c0ad967411b9cb6bfbe40aadfa.jpg","21.9x24",[181],{"id":11454,"slug":11455,"title":11456,"dynasty":99,"author":11457,"museum":447,"description":11458,"tags":11459,"thumbUrl":11460,"material":123,"size":11461,"collection":44,"collections":11462,"showCount":11319,"zanCount":1337,"manualWeight":48,"mainColor":629},218375,"ri-ben-luo-han-tu-dui-fu-ji-shan-ming-zhao-218375","日本· 罗汉图对幅","吉山明兆","他在东福寺工作，是寺庙的看门人，负责打扫殿堂和点灯，被称为兆殿司。他学习了中国宋元的绘画技巧，用笔有力，色彩浓重。",[7,23,225,243,27,28,106,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e7af49e70e9910ccb9bd13b6073fbb8.jpg","107.2x50.2",[44],{"id":11464,"slug":11465,"title":11466,"dynasty":76,"author":11467,"museum":311,"description":11468,"tags":11469,"thumbUrl":11470,"material":139,"size":139,"collection":90,"collections":11471,"showCount":11472,"zanCount":1104,"manualWeight":48,"mainColor":94},230217,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230217","十二金钗图轴","张善孖","此作跳脱了猛虎惯常的威肃凌厉之态，绘虎缓步于烟霭乱石间，笔力劲挺勾勒出雄健躯干，斑纹晕染苍劲写实，却敛去凶煞戾气，姿态带着幽婉柔媚的意趣。\n\n题诗呼应画意，以佳人风姿拟虎，将百兽之王与婉约情致相融，淡墨晕染的空濛云雾衬出悠远氛围感，工写兼具，既尽显虎的筋骨力道，又裹挟着文人画的雅致文心，是独出机杼的写虎佳制。",[7,23,24,225,173,27,8436,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b4ce6ce085278e695890e586d2946e.jpg",[90,181],122,{"id":11474,"slug":11475,"title":11476,"dynasty":76,"author":11477,"museum":311,"description":11478,"tags":11479,"thumbUrl":11487,"material":139,"size":139,"collection":139,"collections":11488,"showCount":11472,"zanCount":2209,"manualWeight":48,"mainColor":94},228930,"shu-guo-tu-gu-luo-228930","蔬果图","顾洛","此作用长卷铺陈出满幅鲜活意趣，以工笔淡彩晕染描摹，设色清妍雅致。枝蔓果蔬次第绵延，宛如将乡野生机尽数铺展于素纸之上。石榴裂瓣露籽，饱满鲜活；水蜜桃色泽娇嫩，肌理宛然，各类蔬果皆刻画入微，菜叶舒展自然，浆果晶莹饱满，连蒜叶、菜根都写实生动，将日常烟火里的瓜果蔬蔬，赋予了文人画的隽雅格调，把清蔬佳果的鲜活生命力淋漓尽致地呈现，于平实间尽显雅致意韵。",[7,23,28,27,25,4675,1153,11480,6739,11129,7792,11481,11482,11483,4676,4677,11484,11485,11486,607,658],"草莓","茄子","玉米","豆角","梅子","桑葚","栗子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf3cd4ae119b84b1a3922ca91fd46c7.jpg",[],{"id":11490,"slug":11491,"title":11492,"dynasty":18,"author":886,"museum":311,"description":8055,"tags":11493,"thumbUrl":11494,"material":139,"size":139,"collection":139,"collections":11495,"showCount":11472,"zanCount":48,"manualWeight":48,"mainColor":49},227688,"shi-yi-long-tu-chen-rong-227688","十一龙图",[7,209,23,24,25,173,177,433,29,37,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd37fa557531a1ee46077055962506d.jpg",[],{"id":11497,"slug":11498,"title":11499,"dynasty":99,"author":3869,"museum":206,"description":11500,"tags":11501,"thumbUrl":11502,"material":123,"size":11503,"collection":90,"collections":11504,"showCount":11472,"zanCount":1337,"manualWeight":48,"mainColor":49},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[7,23,24,225,27,28,83,2380,297,369,229,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[90,45],{"id":11506,"slug":11507,"title":11508,"dynasty":189,"author":921,"museum":11509,"description":11510,"tags":11511,"thumbUrl":11512,"material":527,"size":11513,"collection":44,"collections":11514,"showCount":11472,"zanCount":1337,"manualWeight":48,"mainColor":94},221769,"wu-wang-zui-gui-tu-juan-ren-ren-fa-221769","五王醉归图卷","苏宁艺术馆","《五王醉归图》刻画了唐玄宗五兄弟的故事，唐玄宗年少时与四位兄弟感情和睦，经常相从宴饮，斗鸡击球，外出打猎。这张画描绘了兄弟五人一起骑马游玩的场景， 余下四人为随从仆役，九人九骑，神态各异，呼之欲出\n2020年10月8日，在香港苏富比古代书画拍卖中，《五王醉归图》最终以3.065亿港币（折合约2.7亿元人民币）成交。\n《五王醉归图》描绘了唐代临淄王李隆基（即唐玄宗，712-756年在位）与他的四个兄弟宋王李成器、申王李成礼和岐王李范、薛王李业出游饮酒，醉后骑马回家的情景。据唐郑处诲《明皇杂录》中记载，五王少时感情和睦，常一同宴饮，或喝酒、下棋，或斗鸡、击球，或打猎、游赏。此卷画中共有五王，四个侍从，九骑九乘。其中，穿深红色衣服，由两个侍从搀扶者为李隆基，坐骑为“照夜白”；在李隆基后面的是身着淡黄衣、骑乌骓马、面部醉红的宋王李宪；接着是顾前盼后、骑玉花骢的岐王李范和骑黄骢骠的薛王李业；需要侍从侧骑服侍、伏鞍欲吐者为申王李撝，坐骑为九花虬。伺从挽着袖子，一边照料身旁醉得快坐不住的王，一边还要回头问后边那位能否撑得住，好不生动。",[7,23,25,27,28,106,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb754a83b3cca8f419f2c984d519f85bc.jpg","35.5x212.5厘米",[44,45],{"id":11516,"slug":11517,"title":4395,"dynasty":54,"author":4396,"museum":20,"description":11518,"tags":11519,"thumbUrl":11520,"material":699,"size":4400,"collection":328,"collections":11521,"showCount":11472,"zanCount":48,"manualWeight":48,"mainColor":49},221139,"shang-yang-tai-tie-li-bai-221139","《上阳台帖》是李白所书自咏四言诗。释文：\n“山高水長，物象千萬，非有老筆，清壯可窮。十八日，上陽臺書，太白。”\n引首清高宗弘历楷书题“青蓮逸翰”四字，正文右上宋徽宗赵佶瘦金书题签：“ 唐李太白上陽臺”一行。\n后纸有宋徽宗赵佶，元张晏、杜本、欧阳玄、王馀庆、危素、驺鲁，清乾隆皇帝题跋和观款。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彜齋”、贾似道“秋壑圖書”，元“張晏私印”、“歐陽玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n这是李白传世的唯一书迹。其落笔天纵，收笔处一放开锋，宋黄庭坚评李白：“及观其稿书，大类其诗，弥使人远想慨然。白在开元、至德间，不以能书传，今其行、草殊不减古人。”(《山谷题跋》)\n此帖曾入宣和内府，后归贾似道，元代曾经张晏处，明藏项元汴天籁阁。清代先为安岐所得，再入内府，清末流出宫外。民国时入张伯驹手，新中国成立后献给国家。1958年此帖转交故宫博物院收藏。",[7,209,24,25,178,86,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddf2bf1d39afff56bc9da86e3bbf57.jpg",[328],{"id":11523,"slug":11524,"title":11525,"dynasty":189,"author":767,"museum":206,"description":11526,"tags":11527,"thumbUrl":11529,"material":88,"size":11530,"collection":181,"collections":11531,"showCount":11472,"zanCount":2209,"manualWeight":48,"mainColor":49},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[7,23,24,225,173,29,177,11528,6963,108,109,34,176,106,35],"深林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[181,163],{"id":11533,"slug":11534,"title":11535,"dynasty":949,"author":950,"museum":11536,"description":11537,"tags":11538,"thumbUrl":11539,"material":139,"size":139,"collection":139,"collections":11540,"showCount":11472,"zanCount":48,"manualWeight":48,"mainColor":94},220591,"jiu-hu-he-ju-hua-qi-bai-shi-220591","酒壶和菊花","Hong Kong Museum of Art","淡赭晕染出酒壶憨朴轮廓，留白衬出器物的温润拙厚。下方提篮中菊花攒簇，朱红明丽、赭黄沉凝、墨白清雅，花瓣勾勒老辣朴拙，枝叶苍劲带着蓬勃生机。右侧题笔顶天立地，楷隶相融的题字与画面相映成趣。虚实相生间，将日常小物化为寄情之物，以酒菊托祝寿深意，笔力雄浑简括，把乡野意趣与文人雅韵揉合一处，尽显冲淡隽永的东方意致，将寻常烟火绘成动人的诗意画卷。",[7,23,24,225,27,400,83,407,211,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b1dcc70632968186c19f507f452f51.jpg",[],{"id":11542,"slug":11543,"title":11544,"dynasty":18,"author":2297,"museum":206,"description":11545,"tags":11546,"thumbUrl":11548,"material":123,"size":11549,"collection":42,"collections":11550,"showCount":11472,"zanCount":2209,"manualWeight":48,"mainColor":49},220356,"feng-yu-gui-mu-tu-li-di-220356","风雨归牧图","绘两牧童沿柳岸归牧，风雨大作，柳枝、丛芦在风雨中摇荡。牧童策牛逆风徐行，一牧童披蓑衣俯身紧拉住斗笠，另一牧童的斗笠被风吹落。画家善于从江南乡村常见的景象中挖掘出美感，非常富有生活气息。全图用笔工细严谨，牧童的神情、水牛的憨态也都描绘得很真切。",[7,23,28,27,177,151,808,106,384,1542,11547],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdacf6fa6d8af2dba4881d869e5c6742d.jpg","纵120.7cm，横102.8cm",[42],{"id":11552,"slug":11553,"title":11554,"dynasty":76,"author":11555,"museum":222,"description":11556,"tags":11557,"thumbUrl":11558,"material":699,"size":11559,"collection":139,"collections":11560,"showCount":11561,"zanCount":2209,"manualWeight":48,"mainColor":94},231946,"fang-shen-zhou-hua-hui-tu-wang-wu-231946","仿沈周花卉图","王武","作品是在国民期间被带入国门的，但有几幅作品却被比齐白石的画漂亮，画的细节比齐白的还好。\n齐白石牛的蝉，比不过他画的天牛，可惜作品少了海外！这本书国画精口的细节很少，就是画了三张天牛画在上面树上的野画。简单的绘画风格与齐白石的一样，但作品却充满了满满的童趣。\n如果不是亲眼所见，谁也不会相信这是一张清朝的绘画，而且是由王武一个画家画出来的。笔墨十分的潇洒，尤其是在婚纱中的小作品中，烘焙精品的超小纸条。\n作品贵的精巧，贵在细节上面，大家仔细看绘画的整体风格，实际上比齐白石的作品外观要，而且布局更漂亮，但在工整秀丽之间又不失童趣。把一些动物与植物相间的神韵的画出来，难怪在外国的目光，这一类作品太妙了。\n对比的绘画，这只天牛虽然是属于水墨画，但要知道在200多年前，这水墨的风格画，尤其是场景小类的，能画到非常逼真的多，最重要的就如真的还活着，余生如生。\n一张好画的感觉体验一个人的绘画天赋，更表现了一个人的绘画功底。像王武和齐白石的作品，深入要光，还需要依靠对艺术绘画的一种深入理解，这样子有神韵！",[7,23,173,27,83,940,658,607,2267,81,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25155c1c911c2cd3f45e7be509419dbd.jpg","53x38 厘米",[],121,{"id":11563,"slug":11564,"title":11565,"dynasty":76,"author":1047,"museum":311,"description":11566,"tags":11567,"thumbUrl":11568,"material":139,"size":139,"collection":139,"collections":11569,"showCount":11561,"zanCount":48,"manualWeight":48,"mainColor":94},230270,"hua-niao-chong-yu-shen-pin-zhu-da-230270","花鸟虫鱼神品","这一开册页书画合璧，尽显写意风流。右侧水墨花卉以极简笔墨成画，浓墨晕染花头，枯笔勾出素瓶，浓淡枯湿之间，将一花一器的幽寂勾勒殆尽，留白处尽是澹远空寂的禅意。左侧草书与画境呼应，笔墨纵逸苍劲，线条跌宕，和画面疏简孤高的气息融为一体。整体舍去所有赘饰，以少胜多，清冷孤傲的意趣浸透纸面，寥寥数笔就将文人澹泊疏离的心境铺陈开来，简而不空，淡而有味，尽显中式水墨留白造境的精妙。",[7,23,24,81,173,83,86,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec6de9b81819d99336f4632ebed928.jpg",[],{"id":11571,"slug":11572,"title":11573,"dynasty":189,"author":278,"museum":311,"description":11574,"tags":11575,"thumbUrl":11576,"material":139,"size":139,"collection":139,"collections":11577,"showCount":11561,"zanCount":1337,"manualWeight":48,"mainColor":49},228216,"mu-dan-hua-hui-tu-zhou-yi-ming-228216","牡丹花卉图轴","以深沉绢地托举群芳，白牡丹莹洁似凝脂，红牡丹浓艳若燃霞，紫牡丹晕染出雅致柔韵。花姿或肆意盛放、或含苞颔首，俯仰之间各有姿态。叶片以细腻晕染分出阴阳向背，脉络清浅舒展，将草木柔润生机尽藏笔底。构图繁而不乱，错落排布尽显繁茂却不觉拥塞，将牡丹的雍容富贵融于清雅古拙的笔意之中，尽显花鸟写生的精湛功力，把国色天香的神韵晕染得恰到好处。",[7,209,23,24,225,28,27,369,84,3226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f44b549ecd7f5efb68ebd193de03a4a.jpg",[],{"id":11579,"slug":11580,"title":11581,"dynasty":204,"author":278,"museum":206,"description":11582,"tags":11583,"thumbUrl":11584,"material":302,"size":11585,"collection":139,"collections":11586,"showCount":11561,"zanCount":2209,"manualWeight":48,"mainColor":49},223336,"dan-feng-you-lu-tu-yi-ming-223336","丹枫呦鹿图","《丹枫呦鹿图》描绘的是群鹿游憩于色彩斑斓的秋林中的情景，造型生动真实，颇具情趣。其构图繁密饱满，形式美感强烈，装饰味浓。\n《丹枫呦鹿图》中，作者使用传统的皴法、勾勒之法较少，却大幅度使用了类似西方的光影之法来表现鹿的立体感，且敷色富丽鲜艳又有别干常见的没骨山水。实异于汉族文化地区之画作，属辽画之精品。",[7,23,24,209,225,27,28,5242,4778,808,34,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a0c1c1455178893acd65ad00afdad0.jpg","纵118.5cm，横64.6cm",[],{"id":11588,"slug":11589,"title":11590,"dynasty":76,"author":11591,"museum":311,"description":11592,"tags":11593,"thumbUrl":11594,"material":841,"size":11595,"collection":90,"collections":11596,"showCount":11561,"zanCount":1009,"manualWeight":48,"mainColor":94},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[7,23,209,24,25,243,28,27,106,107,29,34,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[90],{"id":11598,"slug":11599,"title":11600,"dynasty":76,"author":11555,"museum":206,"description":11601,"tags":11602,"thumbUrl":11603,"material":11604,"size":11605,"collection":90,"collections":11606,"showCount":11561,"zanCount":48,"manualWeight":48,"mainColor":94},222807,"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[7,23,24,81,27,28,83,226,402,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[90,45],{"id":11608,"slug":11609,"title":11610,"dynasty":99,"author":170,"museum":20,"description":11611,"tags":11612,"thumbUrl":11613,"material":1488,"size":11614,"collection":181,"collections":11615,"showCount":11561,"zanCount":2209,"manualWeight":48,"mainColor":94},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[7,23,24,25,173,29,177,86,263,37,34,1265,3710,4010],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[181,163],{"id":11617,"slug":11618,"title":11619,"dynasty":99,"author":4796,"museum":206,"description":11620,"tags":11621,"thumbUrl":11622,"material":123,"size":11623,"collection":90,"collections":11624,"showCount":11561,"zanCount":1337,"manualWeight":48,"mainColor":49},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[7,23,28,27,225,83,403,226,402,370,266,229,658,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[90,45],{"id":11626,"slug":11627,"title":4509,"dynasty":99,"author":2494,"museum":206,"description":11628,"tags":11629,"thumbUrl":11630,"material":67,"size":139,"collection":181,"collections":11631,"showCount":11561,"zanCount":48,"manualWeight":48,"mainColor":49},220919,"shan-shui-li-zhou-dong-qi-chang-220919","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[7,23,24,225,173,177,29,734,282,384,403,558,175,1231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[181,163],{"id":11633,"slug":11634,"title":11635,"dynasty":18,"author":553,"museum":3188,"description":11636,"tags":11637,"thumbUrl":11638,"material":123,"size":11639,"collection":181,"collections":11640,"showCount":11561,"zanCount":48,"manualWeight":48,"mainColor":49},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[7,23,209,225,177,173,27,29,734,1775,865,3024,174,106,150,385,384,149,466,9597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[181],{"id":11642,"slug":11643,"title":11644,"dynasty":76,"author":1215,"museum":583,"description":9279,"tags":11645,"thumbUrl":11646,"material":88,"size":9282,"collection":181,"collections":11647,"showCount":11561,"zanCount":2209,"manualWeight":48,"mainColor":94},220005,"shan-shui-hua-fang-mei-dao-ren-wang-shi-min-220005","山水画-仿梅道人",[7,23,173,29,105,177,34,109,175,176,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b0369175196e03b3707498e97829e3.jpg",[181],{"id":11649,"slug":11650,"title":11651,"dynasty":18,"author":11652,"museum":206,"description":11653,"tags":11654,"thumbUrl":11656,"material":123,"size":11657,"collection":90,"collections":11658,"showCount":11561,"zanCount":1337,"manualWeight":48,"mainColor":49},219228,"ye-ju-qiu-chun-tu-li-an-zhong-219228","野菊秋鹑图","李安忠","画幅中心位置上画两只鹑鸟，全身几乎长满了近似粉白色的翎毛，只有少量的黑褐色斑毛，将头部与背勾画得更加显明突出。一只鹑鸟抬头远望，一只鹑鸟低头啄食，它们伫立在倾斜的土坡上、土坡的上方，白色的野菊花穿插在带棘的灌木中，还有竹竿枝权探头画面上、土坡的下方有蒲公英等野草花点缀着，一仰一俯的两只鹑鸟，互相依偎，自由地在大自然的环境中生活，其神态逼真，栩栩如生。该图设色淡雅，配色和谐。",[7,23,209,28,27,83,8304,11655,226],"野菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763aa29896547493e563c587705ce6b7.jpg","纵24.1cm，横40.5cm",[90,45,42],{"id":11660,"slug":11661,"title":11662,"dynasty":189,"author":1442,"museum":78,"description":11663,"tags":11664,"thumbUrl":11665,"material":409,"size":139,"collection":181,"collections":11666,"showCount":11561,"zanCount":1337,"manualWeight":48,"mainColor":49},217218,"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[7,23,173,24,225,244,86,177,866,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[181],{"id":11668,"slug":11669,"title":8219,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":11670,"thumbUrl":11671,"material":2164,"size":2165,"collection":139,"collections":11672,"showCount":11673,"zanCount":2209,"manualWeight":48,"mainColor":94},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981",[7,23,225,173,27,402,403,229,83,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],120,{"id":11675,"slug":11676,"title":11677,"dynasty":18,"author":418,"museum":311,"description":3919,"tags":11678,"thumbUrl":11680,"material":2164,"size":2165,"collection":139,"collections":11681,"showCount":11673,"zanCount":1337,"manualWeight":48,"mainColor":49},287892,"xie-sheng-ling-mao-tu-zhao-ji-287892","写生翎毛图",[7,209,23,25,27,28,83,266,512,2266,84,759,11679],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg",[],{"id":11683,"slug":11684,"title":11685,"dynasty":99,"author":170,"museum":311,"description":11686,"tags":11687,"thumbUrl":11688,"material":139,"size":139,"collection":139,"collections":11689,"showCount":11673,"zanCount":1104,"manualWeight":48,"mainColor":94},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[7,209,23,25,173,27,29,867,108,109,174,1542,7944,34,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],{"id":11691,"slug":11692,"title":11693,"dynasty":99,"author":278,"museum":6249,"description":11694,"tags":11695,"thumbUrl":11697,"material":573,"size":11698,"collection":139,"collections":11699,"showCount":11673,"zanCount":1009,"manualWeight":48,"mainColor":49},223381,"qian-qiu-jue-yan-tu-yi-ming-223381","千秋绝艳图","此卷在六米多长的画面上，绘写了近七十位古代仕女形象，画中女子采用工笔重彩，多用铁线描钩勒衣纹。服饰敷彩妍丽鲜明。每个人物都手持或配有最能代表和体现她们身份的配物，并在右上方，各题有七言绝句一首。",[7,23,24,25,28,27,106,59,210,9194,64,63,5766,84,11696],"珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca25007acf93fb2441506aa6e02095e.jpg","29.5x667.5厘米",[],{"id":11701,"slug":11702,"title":11703,"dynasty":76,"author":336,"museum":20,"description":11704,"tags":11705,"thumbUrl":11713,"material":841,"size":11714,"collection":44,"collections":11715,"showCount":11673,"zanCount":1104,"manualWeight":48,"mainColor":94},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[7,23,27,28,2158,11706,8567,11707,11708,1365,4272,108,109,176,11709,3609,11710,11711,11712],"画中画","普贤菩萨","文殊菩萨","帝王","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纵136.4厘米，横62厘米",[44,45],{"id":11717,"slug":11718,"title":7385,"dynasty":76,"author":1473,"museum":583,"description":11719,"tags":11720,"thumbUrl":11721,"material":527,"size":11722,"collection":44,"collections":11723,"showCount":11673,"zanCount":2209,"manualWeight":48,"mainColor":49},222705,"fo-xiang-jin-nong-222705","图中释迦牟尼，正面全身，头顶青螺结，身着红袈裟，一臂袒露拱手伫立，神态安详而肃穆。面部以刚劲的铁线描勾出，敷设淡彩，丰腴圆润，神采飘逸。周身的衣纹采用枯笔折绝画法，下接卷云莲座，线条展转流动，有升腾动荡之感。\n又于释迦两侧作记，右边文日：“十五年前为暖鹑居士写金刚经卷，刻之枣木，精装千本，善施天下名胜禅林……今又画佛，画菩萨、画罗汉，将俟世之信心，敬俸者锓摹上石，一如写经之流传云。七十四双机郡金农记。”左边题《古佛颂》，长远百余字。书体楷中兼隶，有“漆书”之称，其风格独绝。书画和谐，使佛像更为突出。其画面形式极适于“摹上石”流传于世。",[7,23,24,243,106,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef5ee14a984d59580b5e0d42f846e7c.jpg","133cm×62.5cm",[44],{"id":11725,"slug":11726,"title":11727,"dynasty":189,"author":9788,"museum":20,"description":11728,"tags":11729,"thumbUrl":11730,"material":40,"size":11731,"collection":90,"collections":11732,"showCount":11673,"zanCount":2209,"manualWeight":48,"mainColor":49},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[7,189,23,24,225,28,27,83,2801,226,229,266,386,558,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[90,45],{"id":11734,"slug":11735,"title":11736,"dynasty":18,"author":418,"museum":206,"description":11737,"tags":11738,"thumbUrl":11739,"material":699,"size":11740,"collection":139,"collections":11741,"showCount":11673,"zanCount":1337,"manualWeight":48,"mainColor":94},221253,"mu-dan-shi-tie-ce-zhao-ji-221253","牡丹诗贴册","此作华丽富贵，疏密自然，用笔洒脱，线条粗细有致，笔势圆转流畅，书写时以手腕为轴心，少了点刚硬，多了些柔和，充分表现出了瘦金书体的婀娜之美，可能原先配有一幅双色牡丹图，作品参差错落，一气呵成，表现出了作者高度的艺术修养。",[7,209,23,24,81,911,86,622,173,369,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f35d3427d35e7def70a2f431c6cc271.jpg","34.8cm×53.3cm",[],{"id":11743,"slug":11744,"title":11745,"dynasty":189,"author":645,"museum":11746,"description":11747,"tags":11748,"thumbUrl":11749,"material":699,"size":11750,"collection":328,"collections":11751,"showCount":11673,"zanCount":1314,"manualWeight":48,"mainColor":94},220853,"han-ji-an-chuan-zhao-meng-fu-220853","汉汲黯传","日本东京·永青文库","《汲黯传》被认为是传世赵孟頫的小楷名篇。不过学者一般认为这是俞和仿赵之作。俞和也多临晋人小楷如《乐毅论》等。其精工扎实、功力深厚处，是其他学赵者难以达到的。但赵的虚和婉丽，俞和却没有能学到，以此辨俞和作伪赵书，可谓洞若观火。《汲黯传》同他自临的《乐毅沦》、《临定武兰亭序》款书小楷一样，也是只见方峻刚利，而没有赵的虚婉遒媚。《汲黯传》 - 原文\n汲黯字长孺，濮阳人也。其先有宠于古之卫君。至黯七世，世为卿大夫。黯以父任，孝景时为太子洗马，以庄见惮。孝景帝崩，太子即位，黯为谒者。东越相攻，上使黯往视之。不至，至吴而还，报曰：“越人相攻，固其俗然，不足以辱天子之使。”河内失火，延烧千余家，上使黯往视之。还报曰：“家人失火，屋比延烧，不足忧也。\n臣过河南，河南贫人伤水旱万余家，或父子相食，臣谨以便宜，持节发河南仓粟以振贫民。\n臣请归节，伏矫制之罪。“上贤而释之，迁为荥阳令。黯耻为令，病归田里。上闻，乃召拜为中大夫。以数切诛，不得久留内，迁为东海太守。黯学黄老之言，治官理民，好清静，择丞史而任之。其治，责大指而已，不苛小。黯多病，卧闺阁内不出。岁余，东海大治。称之。上闻，召以为主爵都尉，列于九卿。治务在无为而已，弘大体，不拘文法。\n当是时，太后弟武安侯蚡为丞相，中二千石来拜谒，蚡不为礼。然黯见蛉未尝拜，常揖之。天子方招文学儒者，上曰吾欲云云，黯对曰：“陛下内多欲而外施仁义，奈何欲效唐虞之治乎！”上默然，怒，变色而罢朝。公卿皆为黯惧。上退，谓左右曰：“甚矣，汲黯之戆也！”群臣或数黯，黯曰：“天子置公卿辅弼之臣，宁令从谀承意，陷主于不义乎？且已在其位，纵爱身，奈辱朝廷何！”（《史记·汲郑列传》）\n译文:汲黯，字长孺，是濮阳人。他的先人被古时的卫君宠幸。到汲黯是第七代，代代做卿大夫。汲黯因为父亲而袭任官位。在孝景帝时做了太子洗马，因为严肃使人畏惧。孝素帝驾崩，太子即位，汲黯做谒者。东越人互相攻打，皇上派汲黯去观察。汲黯还没到达那里，到了吴郡就回来了，报告说：“越人互相争斗本来是他们的风俗，不足以劳顿天子的使臣前往。”黄河以北地区失火，连着烧及千余家，皇上派汲黯前往视察情况乙汲黯回来报告说：“家里人弄着了火，房子并排，所以连带烧了，不值得担忧？臣经过黄河南面。黄河南面的穷人有万余家受到水灾、旱灾的侵害，有的父子互相残食，臣以职务之便，拿令牌分发了黄河以南仓库的粟米来赈济贫民，臣还回令牌，请皇上治我假传圣旨的罪过。”皇上认为他贤能就放了他，改任荥阳县令。汲黯耻于做县令（这么小的官职），就托病回家乡了。皇上听说，就把他召回来任为中大夫。因为汲黯多次急谏，不能久留宫内，改任东海郡太守。汲黯学习黄老学说，领导官吏，治理百姓，喜好清静，选择郡丞和书吏来任用他们。他治理政事，只管大的方面，不苛求细节。汲黯多病，躺在内室里不出来，一年多，东海郡大治（治理得非常好），人们称赞他。皇上听说了，召见他，任命为主爵都尉，地位在九卿之列。汲黯做官，务求无为而治，宏扬大体，不拘泥文书法令。\n这个时候，太后的弟弟武安侯田蚡为丞相，职位在中二千石以上的官吏来拜见，田蚡都不答礼。但是汲黯见田蚡不首行跪拜礼，只是常常拱拱手。天子正招求会做文章和有学问的人，皇上说我想如何如何，汲黯应答说：“陛下内心多欲望却表面上行仁义，怎么能效法唐虞之治呢！”皇上不说话，怒气冲冲，变了脸色下了朝。公卿都为汲黯害怕。皇上退下后，对左右的人说：“太过分了，汲黯真是卤莽！”群臣中有人责备汲黯，汲藉说：“天子任命公卿等辅佐的大臣，难道让我们讨好奉承，把主上置于不义的境地吗？况且我已身在其位，纵使爱惜自己，那又怎能辱没朝廷呢！”",[7,24,86,621,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87a676feff0af7b7c4b954d4ed6ab0a.jpg","每页纵17.6cm，横17.4cm",[328],{"id":11753,"slug":11754,"title":11755,"dynasty":99,"author":170,"museum":78,"description":11756,"tags":11757,"thumbUrl":11760,"material":409,"size":11761,"collection":181,"collections":11762,"showCount":11673,"zanCount":2209,"manualWeight":48,"mainColor":94},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[7,23,24,25,173,177,29,11758,11759,176,34,175,109,174,35,865,108],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[181],{"id":11764,"slug":11765,"title":11766,"dynasty":18,"author":6864,"museum":3188,"description":11767,"tags":11768,"thumbUrl":11769,"material":123,"size":11770,"collection":181,"collections":11771,"showCount":11673,"zanCount":1337,"manualWeight":48,"mainColor":49},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[7,2042,209,23,24,25,29,173,177,27,107,108,109,176,34,106,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[181],{"id":11773,"slug":11774,"title":11775,"dynasty":99,"author":11163,"museum":11776,"description":11777,"tags":11778,"thumbUrl":11780,"material":88,"size":11781,"collection":181,"collections":11782,"showCount":11673,"zanCount":48,"manualWeight":48,"mainColor":94},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[7,23,24,225,173,177,105,29,108,109,176,34,466,11779,1871],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[181],{"id":11784,"slug":11785,"title":11786,"dynasty":189,"author":645,"museum":20,"description":646,"tags":11787,"thumbUrl":11788,"material":409,"size":649,"collection":139,"collections":11789,"showCount":11673,"zanCount":48,"manualWeight":48,"mainColor":49},214288,"xiao-kai-luo-shen-fu-ce-5-zhao-meng-fu-214288","小楷洛神赋册-5",[7,209,24,86,621,8606,622,81,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd811b5a311f9fda250998a44b79f3517.jpg",[],{"id":11791,"slug":11792,"title":11793,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":11794,"thumbUrl":11795,"material":2164,"size":2165,"collection":139,"collections":11796,"showCount":11797,"zanCount":48,"manualWeight":48,"mainColor":94},289648,"ju-hua-tu-li-zhou-wu-chang-shuo-289648","菊花图立轴",[7,23,24,225,27,83,407,229,263,86,1163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b0b195545b21cb0c63067b6bbe12e1.jpg",[],119,{"id":11799,"slug":11800,"title":11801,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":11802,"thumbUrl":11803,"material":2164,"size":2165,"collection":139,"collections":11804,"showCount":11797,"zanCount":48,"manualWeight":48,"mainColor":94},283659,"he-fu-tu-zhou-zhu-da-283659","荷凫图轴",[7,209,23,225,173,83,136,229,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c68a231a7e3a42dd7d6c86993a9c7f.jpg",[],{"id":11806,"slug":11807,"title":3456,"dynasty":76,"author":11808,"museum":311,"description":11809,"tags":11810,"thumbUrl":11811,"material":139,"size":139,"collection":44,"collections":11812,"showCount":11797,"zanCount":1337,"manualWeight":48,"mainColor":94},234263,"ren-wu-gu-shi-ce-fan-xue-yi-234263","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[7,28,27,104,106,59,107,384,228,115,298,1434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[44,45],{"id":11814,"slug":11815,"title":11816,"dynasty":76,"author":4050,"museum":20,"description":11817,"tags":11818,"thumbUrl":11819,"material":841,"size":11820,"collection":139,"collections":11821,"showCount":11797,"zanCount":48,"manualWeight":48,"mainColor":94},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[7,23,173,225,400,177,24,29,30,34,108,109,466,175,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],{"id":11823,"slug":11824,"title":11825,"dynasty":189,"author":278,"museum":311,"description":11826,"tags":11827,"thumbUrl":11828,"material":67,"size":11829,"collection":139,"collections":11830,"showCount":11797,"zanCount":1337,"manualWeight":48,"mainColor":629},223496,"pu-xian-pu-sa-xiang-yi-ming-223496","普贤菩萨像","普贤菩萨，佛教菩萨名，梵文Samantabhadra的意译，也曾译为遍吉菩萨，音译为三曼多跋陀罗。普贤菩萨是中国佛教的四大菩萨之一，象征着理德、行德，与象征着智德、正德的文殊菩萨相对应，同为释迦牟尼佛的左、右胁侍。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。",[7,23,24,225,243,27,106,808,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a209573aaa667331b08a345b2354a2.jpg","71x71",[],{"id":11832,"slug":11833,"title":11834,"dynasty":76,"author":2103,"museum":206,"description":11835,"tags":11836,"thumbUrl":11837,"material":527,"size":11838,"collection":90,"collections":11839,"showCount":11797,"zanCount":2209,"manualWeight":48,"mainColor":94},222694,"mei-cha-shui-xian-zhou-qian-wei-cheng-222694","梅茶水仙轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[7,209,23,24,225,28,27,1712,499,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394ac89657041d7c37b5fb8d711ba23.jpg","114.1x75.6",[90,45],{"id":11841,"slug":11842,"title":11843,"dynasty":99,"author":936,"museum":583,"description":11844,"tags":11845,"thumbUrl":11852,"material":573,"size":11853,"collection":44,"collections":11854,"showCount":11797,"zanCount":1337,"manualWeight":48,"mainColor":49},221914,"jiao-lin-zhuo-jiu-tu-chen-hong-shou-221914","蕉林酌酒图","该图设色画夏日庭园，湖石玲珑，蕉竹摇翠，月季盛开。花石丛中，一老人傍石案，手把古爵，悠然酌酒。下有一仕女、一婢女，正忙于漉酒。画面器物，如鼎、壶、琴、书等，皆为古物，反映出主人的身份，是一位超然世外的好古博雅之士。\n线条:全画线条细劲，画法全用细劲的线描勾勒而成，衣褶用笔，细劲清圆，芭蕉奇石用笔简净而抑健，线条有如刀刻，呈现出刚柔、曲折，变化多端，功力极其精湛。其线描的长短、疏密、粗细均服从于写实要求，更多地按照画面构成的需要，产生一种略有装饰的效果，具有较高的审美价值。赋色淡雅透明，即使古铜器上的石绿、石青锈斑，也不作浓涂厚抹。\n色彩:此画总体来说，以青绿冷色凋为主，仅在蕉花、靠垫和仕女的内衣部位点染朱红，万绿丛中有几点红，因而观之对比鲜明而强烈，色彩较为艳丽，但却没有艳俗火气，充分说明画家在用墨设色方面，已达到了炉火纯青的境界。",[7,23,27,28,11846,26,912,11847,806,3722,691,106,1640,11848,6252,5310,9766,11849,11850,211,11851,10898],"线描","庭园","漉酒","鼎","壶","冷色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b97356d758cf77ecdb51664e87f38.jpg","纵156.2厘米，横107厘米",[44,45],{"id":11856,"slug":11857,"title":11858,"dynasty":18,"author":1419,"museum":56,"description":11859,"tags":11860,"thumbUrl":11861,"material":27,"size":11862,"collection":42,"collections":11863,"showCount":11797,"zanCount":2209,"manualWeight":48,"mainColor":49},221525,"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[7,23,24,225,27,29,106,177,1365,176,281,1112,4272,866,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[42,181,163],{"id":11865,"slug":11866,"title":11867,"dynasty":189,"author":1539,"museum":78,"description":11868,"tags":11869,"thumbUrl":11870,"material":9524,"size":11871,"collection":163,"collections":11872,"showCount":11797,"zanCount":2209,"manualWeight":48,"mainColor":255},220776,"song-shi-tu-zhou-wu-zhen-220776","松石图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。在创作思想上继承北宋末年文同、苏轼、米芾等人的文人画理论，提倡遗貌求神，以简逸为上，追求古意和士气，重视主观意兴的抒发。与宋代院体画的刻意求工、注重形似大相径庭，形成鲜明的时代风貌，也有力地推动了后世文人画的蓬勃发展。在元代短短90余年内，画坛名家辈出，其中以赵孟頫、钱选、高克恭、王渊等和号称元四家的黄公望、吴镇、倪瓒、王蒙最负盛名。\n《松石图》凸现在视野中心的只是一棵松树，然而他画的不是直立挺拔的苍松，而是一株干如弯弓，枝干倒长的怪松，它巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇抗怀孤德个性的自喻。\n国家文物鉴定委员会委员、国家文物局文物鉴定资格审核委员、故宫博物院研究员杨臣彬，徐邦达先生入室大弟子,精擅古书画鉴定。上世纪八十年代在民间收藏中发现吴镇《松石图》。《松石图》名款为“梅花道人墨戏”，铃印“梅花庵”、“嘉兴吴镇仲圭书画记”，系清宫旧藏之物。一古松的枝杆横卧上方，松下有湖石水草，构图呈上下两段，留出大片空白，各自为阵且互有联系。用浓墨在树石上点苔，浓重厚密。树石用笔倔强刚劲而不张扬外露，多用中锋，沉着老到，得古松苍劲之质，古松虽老，但无枯涩之感，干淡的用笔不失腴润，墨法鲜活，鲜嫩的水草和斑驳粗重的古松形成鲜明对比。",[7,209,23,24,225,173,177,403,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5441b5aa161a241633f08c79149ce2db.jpg","122.44x46cm",[163,1896],{"id":11874,"slug":11875,"title":11876,"dynasty":76,"author":11877,"museum":7087,"description":11878,"tags":11879,"thumbUrl":11880,"material":11881,"size":11882,"collection":181,"collections":11883,"showCount":11797,"zanCount":48,"manualWeight":48,"mainColor":139},220687,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220687","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[7,23,24,173,226,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa503e8eac49b263916b21cd994b16e19.jpg","水墨,设色,纸本,册页","18×34.5厘米",[181,328],{"id":11885,"slug":11886,"title":11887,"dynasty":54,"author":278,"museum":206,"description":11888,"tags":11889,"thumbUrl":11891,"material":123,"size":11892,"collection":181,"collections":11893,"showCount":11797,"zanCount":1337,"manualWeight":48,"mainColor":49},220432,"tang-ren-hua-xue-jing-tu-yi-ming-220432","唐人画雪景图","这幅画，一座山一座山的描绘，大多形成三角形，有平正古拙的感觉。设色主要填染了石青、石绿，山石以金勾勒纹路表现，尚未有皴纹的使用，画法与李思训青绿山水一派相近。此幅现藏于台北故宫博物院，绢本青绿设色。",[7,23,225,27,29,177,2019,734,865,35,176,11890],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5ca5811dfaa4e9fdb31720f68781.jpg","135.4x69.1",[181,45],{"id":11895,"slug":11896,"title":11897,"dynasty":18,"author":418,"museum":677,"description":11898,"tags":11899,"thumbUrl":11900,"material":409,"size":11901,"collection":181,"collections":11902,"showCount":11797,"zanCount":2209,"manualWeight":48,"mainColor":94},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[7,23,24,225,173,177,29,176,37,865,1265,1776,560,471,9672,889],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[181,42],{"id":11904,"slug":11905,"title":11906,"dynasty":99,"author":170,"museum":1250,"description":1251,"tags":11907,"thumbUrl":11908,"material":699,"size":1255,"collection":139,"collections":11909,"showCount":11797,"zanCount":48,"manualWeight":48,"mainColor":49},220058,"hu-qiu-shi-er-jing-tu-ce-9-shen-zhou-220058","虎丘十二景图册-9",[7,209,23,24,81,173,177,106,866,176,108,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3884057356be4c3470aff4ddb99ae920.jpg",[],{"id":11911,"slug":11912,"title":11913,"dynasty":18,"author":11914,"museum":206,"description":11915,"tags":11916,"thumbUrl":11918,"material":27,"size":11919,"collection":90,"collections":11920,"showCount":11797,"zanCount":1337,"manualWeight":48,"mainColor":49},219945,"zhong-si-mian-die-tu-han-you-219945","螽斯绵瓞图","韩祐","本幅选自“宋元集绘”册第十三开。描写田间一角，花叶生长茂盛，瓜果也已熟透，引来了两只觅食的螽斯。",[7,209,23,24,28,27,940,11917,607,62,606],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233d23d19042c4fdd48f185c470972b0.jpg","25.3 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26公分",[90],{"id":11922,"slug":11923,"title":11924,"dynasty":99,"author":3869,"museum":447,"description":11925,"tags":11926,"thumbUrl":11928,"material":123,"size":139,"collection":90,"collections":11929,"showCount":11797,"zanCount":1104,"manualWeight":48,"mainColor":49},219005,"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[7,23,24,83,28,27,225,226,2801,11927,386,176],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg",[90,45],{"id":11931,"slug":11932,"title":11933,"dynasty":99,"author":3869,"museum":132,"description":6023,"tags":11934,"thumbUrl":11935,"material":123,"size":11936,"collection":90,"collections":11937,"showCount":11797,"zanCount":1337,"manualWeight":48,"mainColor":49},218920,"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图",[7,23,209,28,27,83,404,3898,284,658,607,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[90],{"id":11939,"slug":11940,"title":11941,"dynasty":18,"author":461,"museum":132,"description":11942,"tags":11943,"thumbUrl":11944,"material":123,"size":11945,"collection":181,"collections":11946,"showCount":11797,"zanCount":1337,"manualWeight":48,"mainColor":49},218518,"shu-zhan-xing-lv-tu-fan-kuan-218518","蜀栈行旅图","这幅画被认为是范宽的作品，但事实上，这幅画的风格应该是李寅、颜峄的风格一派作品",[7,23,1218,225,177,27,29,176,34,467,475,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29c07d65148db3c2cafe7e03228c14d.jpg","192.9x74.4cm",[181],{"id":11948,"slug":11949,"title":11950,"dynasty":99,"author":3908,"museum":20,"description":11951,"tags":11952,"thumbUrl":11953,"material":27,"size":11954,"collection":90,"collections":11955,"showCount":11797,"zanCount":1337,"manualWeight":48,"mainColor":94},216097,"qiang-wei-shan-mian-lu-zhi-216097","蔷薇扇面","陆治（1496—1576年），字叔平，吴县（今属江苏苏州）人。因居太湖之包山，号包山子，后隐居支硎山中。文徵明弟子，诗、文、书、画都有相当造诣，擅长画山水、花鸟，为“吴门画派”后期重要画家。花鸟画兼工能写，风格清秀。山水画笔墨劲峭，深受宋元人和文徵明影响而又创立了自己的风格。",[7,1352,23,27,83,84,7299,759,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8d7a219ff7f6c557ee6210e2bc55f4.jpg","15.9x49cm",[90],{"id":11957,"slug":11958,"title":11959,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":11960,"thumbUrl":11961,"material":699,"size":1567,"collection":139,"collections":11962,"showCount":11797,"zanCount":48,"manualWeight":48,"mainColor":49},214359,"san-jue-shan-shui-ce-5-hua-yan-214359","三绝山水册-5",[7,23,173,1218,177,81,1365,466,229,106,176,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2278d8fef17ce39c9b91175a537f50d.jpg",[],{"id":11964,"slug":11965,"title":7020,"dynasty":76,"author":7021,"museum":206,"description":11966,"tags":11967,"thumbUrl":11968,"material":409,"size":11969,"collection":328,"collections":11970,"showCount":11797,"zanCount":2209,"manualWeight":48,"mainColor":94},214211,"zhuan-shu-ba-yan-lian-yang-yi-sun-214211","释文：廉于取名锐于求志。博而不俗文而又儒。",[7,315,1163,86,7024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa86eecb17cab4a0ff2851cbb3be428b.jpg","176.9x29.4",[328],{"id":11972,"slug":11973,"title":11974,"dynasty":18,"author":11975,"museum":78,"description":11976,"tags":11977,"thumbUrl":11978,"material":139,"size":139,"collection":42,"collections":11979,"showCount":11797,"zanCount":2209,"manualWeight":48,"mainColor":11980},203436,"bai-miao-dao-jun-xiang-tu-juan-song-ren-203436","白描道君像图卷","宋人","以白描技法绘就的画面，道君居于核心，神光笼罩下仪态端凝。侍从仙官列队环侍，衣纹线条细劲流畅，尽显飘逸之姿；虎、龙等神兽悄然伏立，为场景注入神圣威严。背景楼阁依界画之法构建，飞檐翘角细节毕现；林木扶疏，亭桥掩映，景致层层铺展却井然有序。整卷线条刚柔相济，或如铁线勾勒轮廓，或似游丝描绘衣袂，将宗教的肃穆与自然的清幽完美融合，尽显南宋书画的典雅韵致与精湛技艺。",[7,23,24,25,244,104,243,106,107,34,8436,29,245,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c346d69351d49d24311e155794dd04a.jpg",[42],"988264",{"id":11982,"slug":11983,"title":11984,"dynasty":18,"author":5793,"museum":311,"description":11985,"tags":11986,"thumbUrl":11987,"material":67,"size":11988,"collection":139,"collections":11989,"showCount":11990,"zanCount":1104,"manualWeight":48,"mainColor":49},232879,"li-nu-xian-qu-tu-juan-liang-kai-232879","狸奴闲趣图卷","宋代画坛，因为有皇家画院的支持和倡导，各类题材的国画大多崇尚描摹精微、细致逼真的画风。这种风格将我国古代工笔画推向了顶峰，也长久以来占据主流地位。但物极必反，严整的工笔画到达极致，必定会走向散乱的写意。这一方面，梁楷可谓是我国古代写意画的开山祖师。\n梁楷是南宋著名画家，师从贾师古。贾师古以师法吴道子的写实工笔著称，而梁楷能在其基础上更胜一筹，青出于蓝。梁楷曾在宁宗朝的画院供职，他继承吴道子写实技法的画风，无疑是非常受皇帝青睐的。他常常奉皇帝诏令，画了许多细腻严整的工笔画。\n这一时期的梁楷已经享有盛名，人们见到他精妙的画作，“无不敬服”。比如《狸奴闲趣图卷》里面的猫，形态各异细腻活泼，通体的毛都纤毫毕现。更不必说周围逼真的山石、花草、蝴蝶，刻画之精细，给人如在目前之感。",[7,23,209,25,27,28,807,226,62,953,385,928,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","33.2x185.4厘米",[],118,{"id":11992,"slug":11993,"title":11994,"dynasty":76,"author":2924,"museum":311,"description":11995,"tags":11996,"thumbUrl":11997,"material":139,"size":139,"collection":139,"collections":11998,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":94},224363,"fu-gui-bai-tou-tu-ju-lian-224363","富贵白头图","《富贵白头图》为光绪十三年（公元1887年）居廉晚年之作。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。\n收藏于 。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[7,23,24,225,28,27,83,369,3203,512,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],{"id":12000,"slug":12001,"title":12002,"dynasty":76,"author":381,"museum":132,"description":8444,"tags":12003,"thumbUrl":12009,"material":573,"size":12010,"collection":90,"collections":12011,"showCount":11990,"zanCount":2209,"manualWeight":48,"mainColor":94},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[7,23,25,28,27,83,12004,387,1028,297,266,34,1712,369,12005,1322,176,109,12006,12007,12008],"百鸟","翠竹","繁花","祥和","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[90,45],{"id":12013,"slug":12014,"title":12015,"dynasty":99,"author":2146,"museum":20,"description":12016,"tags":12017,"thumbUrl":12018,"material":67,"size":12019,"collection":181,"collections":12020,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":49},222346,"bu-xi-tu-tang-yin-222346","步溪图","一人徐步缓行，一人与之相对而立，神态怡然。衣纹洗练流畅，衣袖随风飘舞，生动刻画了悠闲自在的隐士形象。用笔苍秀，构图高远，画格既有南宋[院体]画遗风，又具有元代文人画秀雅的特色。右上自题诗云：[卜宅临溪上，开门近步头。渔樵通互市，耕钓是贻谋。山晓青排闼，波晴绿漾舟。主君朝学海，枕石漱清流。姑苏侍生唐寅作《步溪图》并题奉呈黎老大人先生。]下钤二印。",[7,23,173,177,29,225,34,176,106,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff633694d671ff94560b7fe877887ca21.jpg","纵159厘米，横84.3l厘米",[181,163],{"id":12022,"slug":12023,"title":12024,"dynasty":18,"author":1419,"museum":206,"description":12025,"tags":12026,"thumbUrl":12027,"material":12028,"size":12029,"collection":42,"collections":12030,"showCount":11990,"zanCount":1337,"manualWeight":48,"mainColor":49},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[7,23,209,24,173,27,177,106,6926,7577,865,176,469,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[42,181,163],{"id":12032,"slug":12033,"title":12034,"dynasty":18,"author":8191,"museum":206,"description":12035,"tags":12036,"thumbUrl":12038,"material":27,"size":12039,"collection":42,"collections":12040,"showCount":11990,"zanCount":2209,"manualWeight":48,"mainColor":49},221456,"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[7,209,23,24,25,28,27,11481,759,1629,940,12037],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[42,90,45],{"id":12042,"slug":12043,"title":12044,"dynasty":189,"author":645,"museum":20,"description":12045,"tags":12046,"thumbUrl":12048,"material":699,"size":12049,"collection":328,"collections":12050,"showCount":11990,"zanCount":1104,"manualWeight":48,"mainColor":94},220864,"zhen-cao-qian-zi-wen-zhao-meng-fu-220864","真草千字文","赵孟頫临写智永千字文最勤，他自称二十年来写千文以数百。赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。这件册页未署书的年代，观其书用笔极其温润圆劲，点画精到细腻，结字妍美简静。无疑是一本初学者入门的极佳范本。本帖字迹匀称，笔势圆劲流丽，结构布局端庄秀美。不仅具有极高的艺术欣赏价值和收藏价值，也让广大书法爱好者领略到中国古典书法的一种理想境界，以柔寓刚、外柔内刚。初学者可根据每个字的用笔、结构、布势等去临摹。《赵孟頫真草千字文》这本字帖当为罕世珍品，可以说是初学者的最佳范本。",[7,86,12047,2570,25,699,8289,622,263],"真书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd596427226b7898ee2dbf52d1143a72c.jpg","纵:24.7厘米,横:25厘米",[328],{"id":12052,"slug":12053,"title":12054,"dynasty":189,"author":1442,"museum":206,"description":12055,"tags":12056,"thumbUrl":12057,"material":699,"size":12058,"collection":163,"collections":12059,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":49},220792,"gu-mu-zhu-shi-tu-zhou-ni-zan-220792","古木竹石图轴","《古木竹石图轴》绘坡石间疏竹数丛，枯树两株，笔墨浓淡相间，富有层次感，境界清旷，意境简远，呈现出一片清静幽远的气象。画轴上方有元明余诠、唐肃、高巽志、于思缉、张简、吴卢充、王璲等七处题诗。",[7,23,24,225,173,177,229,226,866,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575c01e50d18d2d517bef35aebf5ff48.jpg","47x27.4",[163,1896],{"id":12061,"slug":12062,"title":12063,"dynasty":76,"author":2924,"museum":206,"description":12064,"tags":12065,"thumbUrl":12066,"material":88,"size":2929,"collection":139,"collections":12067,"showCount":11990,"zanCount":2209,"manualWeight":48,"mainColor":94},220334,"cao-chong-hua-hui-hu-shi-si-ping-xiu-qiu-ju-lian-220334","草虫花卉湖石四屏-绣球","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[7,23,24,83,225,28,27,9490,512,3722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245a38d04b5ce9f9c1b46c5c7acdf76a.jpg",[],{"id":12069,"slug":12070,"title":12071,"dynasty":189,"author":1442,"museum":206,"description":12072,"tags":12073,"thumbUrl":12075,"material":327,"size":12076,"collection":181,"collections":12077,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":94},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[7,23,24,225,173,177,29,1365,12074,4272,1265,4064,283,34],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[181],{"id":12079,"slug":12080,"title":12081,"dynasty":99,"author":2494,"museum":311,"description":12082,"tags":12083,"thumbUrl":12084,"material":67,"size":12085,"collection":328,"collections":12086,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":49},219984,"lin-mi-fei-fang-yuan-an-ji-dong-qi-chang-219984","临米芾方圆庵记","全文共计七百六十八字，董其昌首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。",[7,86,178,105,25,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F163332a7ddae4aba4d6a8c5694000721.jpg","高26厘米，长200厘米",[328],{"id":12088,"slug":12089,"title":12090,"dynasty":18,"author":3466,"museum":7403,"description":12091,"tags":12092,"thumbUrl":12093,"material":409,"size":12094,"collection":139,"collections":12095,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":94},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","薄雾似纱轻笼水面，远山隐于烟霭，如黛色剪影浮在天际。一叶扁舟孑然，渔翁身影模糊在夜色里，船尾涟漪搅碎秋月清辉。近岸树影婆娑，墨色淡染，似与雾气相融。天地静得只剩呼吸，秋夜凉意随淡墨游走，每一笔都透着禅意空灵。简淡笔触里藏着洞庭秋夜的幽远，观者仿佛听见水波轻响，看见月光洒在船舷，心沉入静谧烟波深处，触到自然最本真的呼吸。",[7,23,24,1218,173,400,889,29,285,174,37,34,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],{"id":12097,"slug":12098,"title":12099,"dynasty":18,"author":278,"museum":101,"description":12100,"tags":12101,"thumbUrl":12105,"material":123,"size":139,"collection":181,"collections":12106,"showCount":11990,"zanCount":1337,"manualWeight":48,"mainColor":49},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[7,23,25,1218,173,10897,176,34,1079,3660,4970,116,12102,12103,12104],"四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[181],{"id":12108,"slug":12109,"title":12110,"dynasty":18,"author":278,"museum":206,"description":12111,"tags":12112,"thumbUrl":12113,"material":123,"size":12114,"collection":181,"collections":12115,"showCount":11990,"zanCount":1337,"manualWeight":48,"mainColor":629},218651,"chi-bi-tu-yi-ming-218651","赤壁图","此图边角式的构景，已演化为南宋画之面目，但笔墨的习惯与格式化，则透露出本幅的创作时间已晚至明朝了。本幅乃一叶扁舟为主景的局部山水。用锯齿描精绘漩流急浪，以回身仰望的苏东坡，来暗示出赤壁在画外的高耸。",[7,209,23,24,29,174,106,177,173,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee7fef708e8753e343d91346a2e744b.jpg","24x23.2cm",[181],{"id":12117,"slug":12118,"title":12119,"dynasty":99,"author":100,"museum":311,"description":12120,"tags":12121,"thumbUrl":12123,"material":2164,"size":2165,"collection":139,"collections":12124,"showCount":12125,"zanCount":1104,"manualWeight":48,"mainColor":49},287560,"gong-nv-you-yuan-tu-juan-chou-ying-287560","宫女游园图卷","此图中的女子涵盖量是真的不少了，有围坐对弈的，有团团坐斗草的，更有乐器演奏的，梳妆熏香烫衣一样不少，慢慢均是仪式感的古代慢生活",[7,23,25,28,27,1205,107,115,3722,12122],"游园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed9f08f4878403d82d79b31123c8e1d.jpg",[],117,{"id":12127,"slug":12128,"title":12129,"dynasty":76,"author":4192,"museum":583,"description":12130,"tags":12131,"thumbUrl":12133,"material":699,"size":12134,"collection":181,"collections":12135,"showCount":12125,"zanCount":1337,"manualWeight":48,"mainColor":49},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[7,23,173,177,225,29,176,34,466,12132,175,109,108],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[181,163],{"id":12137,"slug":12138,"title":5693,"dynasty":76,"author":10288,"museum":6182,"description":12139,"tags":12140,"thumbUrl":12142,"material":88,"size":12143,"collection":181,"collections":12144,"showCount":12125,"zanCount":48,"manualWeight":48,"mainColor":49},220430,"you-gu-tu-kun-can-220430","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[7,23,24,225,29,27,177,107,109,176,34,37,106,12141,1365,1266],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 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：“白门李氏珍藏”、“米舫平生之真赏”。\n裱边有狄平子题记二则，钤“狄平子”印等。\n此图是朱耷8岁所作。\n风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。\n此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。\n八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[7,23,24,225,173,400,83,229,12197,266,263],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],{"id":12201,"slug":12202,"title":12203,"dynasty":76,"author":12204,"museum":20,"description":12205,"tags":12206,"thumbUrl":12211,"material":12212,"size":12213,"collection":139,"collections":12214,"showCount":71,"zanCount":972,"manualWeight":48,"mainColor":629},223246,"wu-liang-shou-fu-tu-ding-guan-peng-223246","无量寿佛图","丁观鹏","祥云朵朵，周围站立四大金刚及佛祖两大弟子伽叶、阿难，前有女信徒合掌跪拜，旁立哼、哈二将。线条工细，佛像脸部、手部及莲座，均用晕染法，显出明暗凹凸之感。以''钉头鼠尾''描表现的衣纹于规整中又平添几分洒脱。采用''勾勒填金''的方式，以泥金为墨绘在瓷青纸上，使画面色泽深重雅丽。",[7,315,23,209,28,12207,27,243,106,12208,12209,12210,107,245,263],"描金","佛","弟子","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ded1bcb112cae3a4d25a8535de94a4.jpg","瓷青纸金画","纵99．3厘米，横61．9厘米",[],{"id":12216,"slug":12217,"title":12218,"dynasty":76,"author":11591,"museum":20,"description":12219,"tags":12220,"thumbUrl":12222,"material":88,"size":12223,"collection":90,"collections":12224,"showCount":71,"zanCount":1104,"manualWeight":48,"mainColor":94},219285,"tao-liu-shuang-yan-tu-ren-xiong-219285","桃柳双燕图","杨柳青青随风摇曳，桃花几株隐现其中，枝头上两只燕子正欢快地嬉戏。画家巧妙地通过弯曲的柳条和燕子的上下飞舞增加了画面的动感，暗示出轻拂花柳的春风。画面风貌写实，设色明丽，色彩对比柔和，桃花在柳条间若隐若现，成为画面中最明丽的亮点，可见画家在色彩运用上的娴熟技艺。",[7,23,27,83,225,264,2607,12221],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f133d7080974e75316cc983e4b2b15.jpg","纵140.7厘米，横32.7厘米",[90],{"id":12226,"slug":12227,"title":12228,"dynasty":18,"author":278,"museum":132,"description":12229,"tags":12230,"thumbUrl":12232,"material":123,"size":139,"collection":90,"collections":12233,"showCount":71,"zanCount":2209,"manualWeight":48,"mainColor":49},218950,"cao-chong-tu-yi-ming-218950","草虫图","藤蔓如蚓，蜿蜒牵惹着几片翠叶与明黄的花，柔劲的线条里藏着自然的生趣。笼栅细劲，圈住一只草虫——翅翼的纹理纤毫毕现，触须轻颤似在嗅闻叶间清香，敛足欲跃的姿态，让静穆画面漫出一丝灵动。绢本的古褐底色如陈年书卷，淡绿与嫩黄的晕染，似将春日温煦凝在绢上。\n\n宋人画草虫向来重写实却不泥于形，这帧小品无浓墨喧阗，只有对生命细微处的温柔体察：藤蔓卷舒、花叶轻颤、草虫意态，都藏着文人案头的闲雅时光。风过叶隙时，仿佛能听见那若有若无的虫鸣，漫溢出清宁的田园况味，古雅的色调里，沉淀着时光的温煦与悠然。",[7,23,28,27,83,511,606,607,1629,12231],"虫笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd768168c81591ad3b140352772d501.jpg",[90,42],{"id":12235,"slug":12236,"title":12237,"dynasty":18,"author":553,"museum":311,"description":12238,"tags":12239,"thumbUrl":12240,"material":139,"size":139,"collection":139,"collections":12241,"showCount":12242,"zanCount":2209,"manualWeight":48,"mainColor":49},227600,"xi-shan-qiu-ji-tu-ju-bu-yi-guo-xi-227600","溪山秋霁图（局部一）","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[7,209,23,25,173,177,29,34,37,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d640d86977ce4b9c75fce90e0ebd9d.jpg",[],115,{"id":12244,"slug":12245,"title":12246,"dynasty":18,"author":12247,"museum":311,"description":12248,"tags":12249,"thumbUrl":12250,"material":139,"size":139,"collection":139,"collections":12251,"showCount":12242,"zanCount":2209,"manualWeight":48,"mainColor":94},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[7,209,23,24,25,244,173,177,29,106,174,175,266,34,558,107,109,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":12253,"slug":12254,"title":12255,"dynasty":76,"author":12256,"museum":311,"description":12257,"tags":12258,"thumbUrl":12259,"material":67,"size":6568,"collection":181,"collections":12260,"showCount":12242,"zanCount":1337,"manualWeight":48,"mainColor":49},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[7,209,23,24,104,28,27,29,107,176,34,37,1069,4064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg",[181],{"id":12262,"slug":12263,"title":807,"dynasty":76,"author":803,"museum":583,"description":1453,"tags":12264,"thumbUrl":12265,"material":527,"size":7441,"collection":139,"collections":12266,"showCount":12242,"zanCount":48,"manualWeight":48,"mainColor":94},223235,"mao-ren-yi-223235",[7,23,27,173,3202,807,806,658,928,229],"htt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一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[7,23,24,25,173,226,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[163,1896],{"id":12277,"slug":12278,"title":1462,"dynasty":18,"author":708,"museum":1666,"description":12279,"tags":12280,"thumbUrl":12281,"material":12282,"size":12283,"collection":42,"collections":12284,"showCount":12242,"zanCount":48,"manualWeight":48,"mainColor":49},221507,"shan-shui-tu-xia-gui-221507","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[7,23,173,29,177,34,176,175,2310,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 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疾步狂呼，张着脖子歇斯底里的模样。 画家把六祖藐视宗教旧传统时这种玩世不恭的狂态，用干枯的焦墨勾线表现得淋漓尽致。画面笔触方折细劲，僧衣用线简括削劲，松针、树枝用笔爽利干净，眉眼五官和经卷则以淡墨略作勾画，六祖慧能撕经时狂颠和玩世不恭的神态已跃然纸上。",[7,23,24,209,225,173,7834,106,865,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8195d6c6a142b8cfd17fc7dbb04a9365.jpg","70x30.3厘米",[163],{"id":12332,"slug":12333,"title":12334,"dynasty":18,"author":278,"museum":206,"description":12335,"tags":12336,"thumbUrl":12337,"material":123,"size":12338,"collection":42,"collections":12339,"showCount":12242,"zanCount":1337,"manualWeight":48,"mainColor":49},218797,"hua-hu-tu-yi-ming-218797","画虎图","这幅画上的签名是 袁桂珍画虎。在面板的左侧是 归真 的签名，似乎已经被改变。因此需要进一步研究，以确定这幅画是由 归真 还是 李 姓画家创作的。画中，旷野荒凉，松树茂盛，绿竹随风飘荡，溪水潺潺。中国的习俗是把鹰和虎都画在一起。'虎'字形容地势雄伟险要，'鹰'字指的是雄伟壮丽的人才展示。这是一种比喻方式，表达了一种优越的地位和挥舞大权的能力。对于古代画家来说，老虎并不像今天这样容易看到，这幅画对老虎的形态描绘得非常精致，是中国绘画史上最好的作品之一。画风的上限可能早于元代，但可能是南宋的作品。",[7,23,1352,27,177,8436,808,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15501d2a2c11b6aebfe96cf28f72ce0c.jpg","25.6x26.6",[42],{"id":12341,"slug":12342,"title":12343,"dynasty":18,"author":1699,"museum":206,"description":12344,"tags":12345,"thumbUrl":12346,"material":123,"size":12347,"collection":181,"collections":12348,"showCount":12242,"zanCount":1104,"manualWeight":48,"mainColor":49},218530,"tian-bao-jiu-ru-tu-liu-song-nian-218530","天保九如图","此卷是刘松年所作，画风精细，似乎是在文征明之后，卷首有宋高宗的题词，但不是真迹。",[7,23,24,25,26,27,28,177,29,107,175,866,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4c2a25e8fe1441ec33f5a675e61a18.jpg","53.8x302.2cm",[181],{"id":12350,"slug":12351,"title":12352,"dynasty":99,"author":12353,"museum":206,"description":12354,"tags":12355,"thumbUrl":12356,"material":409,"size":12357,"collection":328,"collections":12358,"showCount":12242,"zanCount":48,"manualWeight":48,"mainColor":94},214214,"wu-yan-gu-shi-chen-bi-214214","五言古詩","陈壁","陈壁（1558-1639），字公达，号文澜、西池，明朝时期的诗人。他的五言古诗被誉为“十八岛古诗王”之一，其中许多作品堪称名篇。\n\n其中一首著名的五言古诗是《游子吟》：\n海客谈瀛洲，烟涛微茫信难求。\n孤舟蓑笠翁，独钓寒江雪。\n平生不会多情，才自遣寂寞。\n更喜岸上见，但见断桥残雪。\n\n这首诗描写了一位海客在瀛洲（古代海防城市）呆久而长，见识广阔，但却常感孤独和寂寞。诗人用游子的视角，借用独钓寒江雪的形象，抒发出对家乡的思念之情。《游子吟》的悠远抒情，流传至今，堪称陈壁五言古诗的代表作之一。",[7,86,2570,173,263,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683b97161e9063aaa5f65669f455b1e5.jpg","93x35.6",[328],{"id":12360,"slug":12361,"title":12362,"dynasty":99,"author":397,"museum":311,"description":12363,"tags":12364,"thumbUrl":12365,"material":139,"size":139,"collection":139,"collections":12366,"showCount":12367,"zanCount":2209,"manualWeight":48,"mainColor":94},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[7,23,24,25,173,400,263,178,402,406,226,407,227,369,405,404,691,229,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":12369,"slug":12370,"title":12371,"dynasty":204,"author":4074,"museum":311,"description":12372,"tags":12373,"thumbUrl":12374,"material":139,"size":139,"collection":139,"collections":12375,"showCount":12367,"zanCount":1104,"manualWeight":48,"mainColor":94},227547,"shi-liu-tu-ye-huang-ju-cai-227547","石榴图页","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。擅绘花竹禽鸟，精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[7,209,23,24,81,27,28,83,1153,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3694de77f1763de9903d1d4aa0cf2982.jpg",[],{"id":12377,"slug":12378,"title":12379,"dynasty":99,"author":3869,"museum":56,"description":12380,"tags":12381,"thumbUrl":12382,"material":40,"size":12383,"collection":90,"collections":12384,"showCount":12367,"zanCount":2209,"manualWeight":48,"mainColor":49},222401,"shi-tou-e-tu-lv-ji-222401","狮头鹅图","该画作工笔设色绘白鹅踱步于梅树之下，树干古拙，花蕾点点，侧有玲珑剔透的太湖石，石旁花卉丛生。鹅身用笔轻柔，赋色细腻。左上角有吕纪单款，并钤印章。该作品无论在画幅尺寸还是构图气势上都给人一种“大”的感觉，让人在百步之外都能感受到一种强烈的艺术气息。",[7,23,24,28,27,83,402,7725],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ef3147a069d98f929795d817ad87ed.jpg","纵191厘米，横104厘米",[90,45],{"id":12386,"slug":12387,"title":12388,"dynasty":99,"author":3869,"museum":1666,"description":3870,"tags":12389,"thumbUrl":12390,"material":573,"size":3878,"collection":139,"collections":12391,"showCount":12367,"zanCount":2209,"manualWeight":48,"mainColor":49},222394,"si-ji-hua-niao-tu-qiu-lv-ji-222394","四季花鸟图-秋",[7,23,28,27,83,384,283,2310,266,369,925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1873779d421c2c6c0dad9edf14f98573.jpg",[],{"id":12393,"slug":12394,"title":12395,"dynasty":99,"author":4796,"museum":12396,"description":12397,"tags":12398,"thumbUrl":12399,"material":40,"size":12400,"collection":90,"collections":12401,"showCount":12367,"zanCount":1337,"manualWeight":48,"mainColor":49},221940,"bai-he-tu-juan-bian-wen-jin-221940","百鹤图卷","四川省博物馆","此图笔墨精炼，色调明快，绘白鹤近百只，皆丹顶白毛黑尾长腿，或空中盘旋、或水中嬉戏、或伏地栖息、或飞鸣啄食、或舒翼理毛……神态各异，莫不栩栩如生，各臻其妙。鹤群栖息之处鲜花绽放、松树遒劲、水流奔腾、湖石耸立，群鹤和睦，情景融融。",[7,23,25,28,27,83,60,1365,264,176,34,266,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94bd1c5f39208d59af0aa9219a8508f.jpg","25.4*241.33cm",[90,45],{"id":12403,"slug":12404,"title":12405,"dynasty":189,"author":4438,"museum":206,"description":12406,"tags":12407,"thumbUrl":12408,"material":712,"size":12409,"collection":181,"collections":12410,"showCount":12367,"zanCount":2209,"manualWeight":48,"mainColor":94},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[7,2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“画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[7,23,209,25,26,27,28,177,29,1365,107,176,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":12620,"slug":12621,"title":12622,"dynasty":1483,"author":3526,"museum":311,"description":12623,"tags":12624,"thumbUrl":12625,"material":139,"size":12626,"collection":328,"collections":12627,"showCount":12584,"zanCount":48,"manualWeight":48,"mainColor":49},221030,"ding-wu-ben-lan-juan-wang-xi-zhi-221030","定武本兰卷","笔势洞精，笔法严谨遒劲",[7,86,178,620,622,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5e671a68d12677bedaa825f200d12c.jpg","35x270cm",[328],{"id":12629,"slug":12630,"title":6799,"dynasty":189,"author":645,"museum":20,"description":6800,"tags":12631,"thumbUrl":12634,"material":40,"size":139,"collection":90,"collections":12635,"showCount":12584,"zanCount":1104,"manualWeight":48,"mainColor":94},220868,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868",[7,27,28,25,86,263,150,34,31,106,12632,29,12633],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[90,45],{"id":12637,"slug":12638,"title":11476,"dynasty":76,"author":12639,"museum":206,"description":12640,"tags":12641,"thumbUrl":12642,"material":88,"size":139,"collection":90,"collections":12643,"showCount":12584,"zanCount":1104,"manualWeight":48,"mainColor":94},216102,"shu-guo-tu-zhang-xiong-216102","张熊","清朝张熊的蔬果图是指18世纪末19世纪初的清朝画家张熊所创作的一幅著名的绘画作品，其中描绘了许多种类的水果和蔬菜。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。\n\n张熊是一位著名的清朝画家，他的蔬果图是他的代表作之一。这幅画作品描绘了许多种类的水果和蔬菜，包括苹果、梨、桃子、柑橘、葡萄、菠萝、香蕉、西瓜、茄子、辣椒、芹菜、芥菜、豆芽等。画中的水果和蔬菜都按照真实的外观进行描绘，颜色鲜艳，造型生动。\n\n张熊的蔬果图是以轮廓线和色彩为主要表现手法的，在描绘水果和蔬菜的同时，还表现了每种水果和蔬菜的独特的形态和质地。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。",[7,23,24,27,28,4675,4677,11129,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf464bdc7825df56f0578c227961066.jpg",[90],{"id":12645,"slug":12646,"title":12647,"dynasty":76,"author":12648,"museum":206,"description":12649,"tags":12650,"thumbUrl":12651,"material":409,"size":12652,"collection":328,"collections":12653,"showCount":12584,"zanCount":2209,"manualWeight":48,"mainColor":94},214234,"kai-shu-qi-yan-lian-ceng-guo-quan-214234","楷书七言联","曾国荃","此联楷书用笔沉雄稳健，起笔收锋间见骨力，转折处圆劲含刚，如锥画沙般扎实。结体端方规整却不拘板，字势略带欹侧之趣，于庄重中藏灵动。墨色浓淡相宜，枯润互见，与泛黄纸本相映，更显古雅醇厚。联语布局疏朗有致，上下呼应，气韵贯通，既见文人书法的书卷清气，又隐现武将出身的沉雄气概，笔墨间藏纳岁月沉淀的厚重，堪称晚清楷书佳作。",[7,621,7024,86,173,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65b7cd19665fb611b40fa719af531fd.jpg","158.8x38.4",[328],{"id":12655,"slug":12656,"title":12657,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":12658,"thumbUrl":12660,"material":2164,"size":2165,"collection":139,"collections":12661,"showCount":12662,"zanCount":2209,"manualWeight":48,"mainColor":94},290181,"hua-hui-si-tiao-ping-wu-chang-shuo-290181","花卉四条屏",[7,23,209,24,225,27,173,83,12659,86,263,3972],"寿桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9dc40faec11aee3f097844ed158d77.jpg",[],111,{"id":12664,"slug":12665,"title":12666,"dynasty":189,"author":12667,"museum":20,"description":12668,"tags":12669,"thumbUrl":12671,"material":1488,"size":12672,"collection":181,"collections":12673,"showCount":12662,"zanCount":1104,"manualWeight":48,"mainColor":94},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[7,23,24,25,173,177,263,29,384,866,174,402,176,2310,6005,106,966,1231,770,658,62,1365,865,3981,111,12670,737,759],"山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[181,163],{"id":12675,"slug":12676,"title":12677,"dynasty":189,"author":3051,"museum":583,"description":12678,"tags":12679,"thumbUrl":12680,"material":1411,"size":12681,"collection":90,"collections":12682,"showCount":12662,"zanCount":48,"manualWeight":48,"mainColor":94},221715,"hua-niao-tu-juan-qian-xuan-221715","花鸟图卷","第一段桃花翠鸟，画一枝春桃花繁叶茂，枝头站立一只通体羽毛幽蓝的翠鸟，小鸟身体直立，极目远眺，正是鸟儿振翅起飞前的瞬间写照。第二段牡丹，画一束绿叶中，盛开着两朵淡粉的牡丹，叶子向左下微垂，似有阵阵清风掠过。第三段干枝梅，画一棵梅枝垂挂而下，错节的大小梅枝上许多梅花盛开。钱选画花鸟善于捕捉实景中最生动自然的情形，形态逼真富有情趣，此卷正是钱选这一画风的充分体现。图画设色淡雅清丽，精巧传神，洋溢着隽秀清高之美，构图虽简，但更显画家的技法精湛。\n如此形象准确，神态生动，笔力遒劲的得意之作，钱选自然要赋诗题上。在每段画的后面，都有钱选自题的七言诗一首。第一段和第三段的题诗已漫漶不能全识，第二段题诗如下：头白相看春又残，折花聊助一时欢。东君命驾归何连，犹有余情在牡丹。题诗以行楷书写，含蓄内敛、平淡天真，严谨而朴拙，颇有钟繇遗风。画卷诗情画意相得益彰，为钱选花鸟画的至精之作。卷尾署“至元甲午画于太湖之滨并题，习懒翁钱选舜举”。可知这是钱选晚年所作，正值钱选诗书画印诸艺炉火纯青之时。",[7,23,24,25,27,28,83,264,369,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ccc0a162c10a33940263f3fc4a9708.jpg","纵38厘米 横316.7厘米",[90,163],{"id":12684,"slug":12685,"title":12686,"dynasty":18,"author":418,"museum":206,"description":12687,"tags":12688,"thumbUrl":12690,"material":40,"size":12691,"collection":42,"collections":12692,"showCount":12662,"zanCount":48,"manualWeight":48,"mainColor":49},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 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落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[7,209,23,24,28,27,266,1365,176,466,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","纵121.7×横64公分",[90,45],{"id":12776,"slug":12777,"title":12778,"dynasty":76,"author":12779,"museum":311,"description":12780,"tags":12781,"thumbUrl":12782,"material":67,"size":12783,"collection":139,"collections":12784,"showCount":12742,"zanCount":1337,"manualWeight":48,"mainColor":49},222701,"hua-hu-die-tu-jin-yao-222701","花蝴蝶图","金钥","此作用笔工致秀润，设色清雅柔和。灵石皴染朴拙，野卉自石畔抽茎挺生，淡紫碎花垂缀梢头，圆叶绿丛铺陈其下，野趣盎然。数只蛱蝶翅纹斑斓鲜活，或栖于花枝、或振翅翩跹，将蝶之灵动与花之柔婉相融无间。画面右上角题诗配字，笔墨隽秀，书画相映成趣，晕染出悠然闲适的文人情致。整体构图错落舒展，将郊野一隅的幽微生机勾勒动人，把小品花鸟的雅致意趣尽数铺陈，尽显清和隽永的审美意韵。",[7,23,24,225,28,27,83,512,62,284,283,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9952c196199673acf5700bc014e2bd29.jpg","30x75.",[],{"id":12786,"slug":12787,"title":12788,"dynasty":18,"author":12789,"museum":56,"description":12790,"tags":12791,"thumbUrl":12792,"material":3071,"size":12793,"collection":328,"collections":12794,"showCount":12742,"zanCount":2209,"manualWeight":48,"mainColor":255},221196,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221196","自作诗卷（全卷）第一段","陆游","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[7,86,25,178,2547,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c86b3e25aa12cb4cbb30509110916e8.jpg","31*7017cm",[328],{"id":12796,"slug":12797,"title":12798,"dynasty":277,"author":12799,"museum":5803,"description":12800,"tags":12801,"thumbUrl":12802,"material":123,"size":12803,"collection":44,"collections":12804,"showCount":12742,"zanCount":1337,"manualWeight":48,"mainColor":629},219237,"xu-kong-zang-pu-sa-xiang-ri-ben-yi-ming-219237","虚空蔵菩萨像","日本·佚名","画面沉敛的墨色里，虚空藏菩萨端坐莲台，面容温润如满月，双目微阖似含慈悲。头戴宝冠缀饰精巧，璎珞垂肩映出细碎华光，衣纹线条婉转如流云，金箔点缀处更显庄严雅致。身后多层背光暗红交织墨色，层层晕染如涟漪扩散，凝住神性的辉光。莲座花瓣层叠纹理细腻，承托坐姿安稳如山。整幅作品以凝练笔触勾勒庄严法相，每一处细节都藏着对神性的敬畏与美的追求，凝视间仿佛能触到心灵的沉静，感知那怀纳无尽智慧与福德的力量，让浮躁心绪在这古典的静谧里慢慢沉淀。",[7,243,28,27,106,8045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d15498dcc5a053db8d3797f3b59f65f.jpg","132.0×84.4",[44],{"id":12806,"slug":12807,"title":12808,"dynasty":76,"author":381,"museum":447,"description":12809,"tags":12810,"thumbUrl":12811,"material":123,"size":12812,"collection":90,"collections":12813,"showCount":12742,"zanCount":1337,"manualWeight":48,"mainColor":49},219043,"que-tu-tu-shen-quan-219043","鹊兔图","画面上是初春的小河，凉风习习，梅花和茶花盛开，三只野兔和三只鸟已经感受到春天的气息，出来觅食和活动。这幅画的风格与沈铨的风格不同，尤其是画的野草和流水，与沈铨的美术风格不一致，这幅画不是沈铨的作品。",[7,23,27,28,83,808,2234,266,402,384,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c22d6c57cb0a16f7d500ffac33a3533.jpg","纵140横63.8厘米",[90],{"id":12815,"slug":12816,"title":12817,"dynasty":76,"author":1563,"museum":523,"description":12818,"tags":12819,"thumbUrl":12820,"material":88,"size":12821,"collection":90,"collections":12822,"showCount":12742,"zanCount":1337,"manualWeight":48,"mainColor":49},218733,"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","这幅画描绘了一块形状奇特的湖石，靠着湖石生长的翠竹棚，枝条修长，叶子翠绿繁茂，枝头上有两只鸟儿相望；一枝梅花从上往下画，枝头上的花朵灿烂开放，枝头上的鸟儿张着嘴叫，尾巴上的羽毛色彩斑斓，十分可爱。",[7,23,24,225,27,28,400,402,226,370,83,229,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[90],{"id":12824,"slug":12825,"title":3554,"dynasty":18,"author":1419,"museum":311,"description":12826,"tags":12827,"thumbUrl":12828,"material":123,"size":139,"collection":90,"collections":12829,"showCount":12742,"zanCount":2209,"manualWeight":48,"mainColor":49},218548,"han-ya-tu-ma-yuan-218548","枯枝虬曲如铁线，从绢本深褐底色中挣出清劲骨力，枝桠间寒鸦三两：或敛翅栖于梢头，墨羽浓淡晕染出绒绒暖意；或振翅欲飞，翅尖的墨痕似带起微凉的风。远处坡岸简笔勾勒，留白处恍若覆雪，荒寒之意漫开。\n\n马远以边角之景造阔远之境，此图疏枝横斜间，寒鸦的灵动破开冬日沉寂。线条挺健如老松，墨韵含蓄似淡诗，将霜天清寂与生命鲜活揉作一处。展卷时，仿佛能嗅到冷冽空气里的松针香，又被寒鸦轻啼牵起一丝暖意——宋人笔墨的雅致与深情，尽在这方寸绢素中流转。",[7,209,23,24,81,173,177,266,1423,866,229,29,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea5df84a8c9f6ef5813d9284515ec0.jpg",[90],{"id":12831,"slug":12832,"title":12833,"dynasty":99,"author":2494,"museum":20,"description":12834,"tags":12835,"thumbUrl":12836,"material":409,"size":12837,"collection":181,"collections":12838,"showCount":12742,"zanCount":48,"manualWeight":48,"mainColor":94},218348,"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[7,23,24,25,173,105,178,86,177,263,29,557,34,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[181,163,328],{"id":12840,"slug":12841,"title":12842,"dynasty":189,"author":3051,"museum":206,"description":12843,"tags":12844,"thumbUrl":12849,"material":123,"size":12850,"collection":44,"collections":12851,"showCount":12742,"zanCount":48,"manualWeight":48,"mainColor":94},215140,"zhao-liang-shi-nv-tu-qian-xuan-215140","招凉仕女图","本幅为「集古名绘」册第七幅。画二佳丽，头顶高冠，身披轻纱，手执纨扇于园中消暑。布局简约，设色雅淡，衣描用笔劲如游丝，纤秀清逸。确属名家之杰作，惟幅中无款印，旧传为钱选之作",[7,23,24,27,28,106,59,1205,284,12845,12846,67,12847,912,12848],"元风格","细描","古典人物","纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb2232f9bdd27643d1136c5a47b2918.jpg","22.4x21.7cm",[44],{"id":12853,"slug":12854,"title":12855,"dynasty":99,"author":278,"museum":311,"description":12856,"tags":12857,"thumbUrl":12858,"material":2164,"size":2165,"collection":139,"collections":12859,"showCount":12860,"zanCount":48,"manualWeight":48,"mainColor":94},287980,"fang-chou-ying-shui-mo-ren-wu-hua-yi-ming-287980","仿仇英水墨人物画","整卷以水墨铺展平远丘林，清劲线条勾勒层叠山峦与苍古林木，皴染兼具，带着雅致工秀的笔墨意趣。坡田间细笔描摹田垄肌理，尽显乡野质朴生机，留白虚实相生，将郊野旷远意境缓缓铺陈。\n\n林泉田垄间淡墨点染人物，身形简括却情态悠然，藏着村居野逸的松弛意态。画作兼得院体精工与文人山水的萧散淡远，将江南郊野的日常烟火与林泉雅韵相融，笔墨温润秀雅，把幽远恬和的隐逸之思藏进山野林峦之中，尽显隽永悠然的山水意境。",[7,23,25,209,173,29,34,106,177,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bc9b7470cb387f6925d37307008f0c.jpg",[],109,{"id":12862,"slug":12863,"title":12864,"dynasty":204,"author":7615,"museum":311,"description":12865,"tags":12866,"thumbUrl":12867,"material":2164,"size":2165,"collection":139,"collections":12868,"showCount":12860,"zanCount":2209,"manualWeight":48,"mainColor":49},283694,"shan-xi-dai-du-tu-guan-tong-283694","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 [1] 此画用墨饱满，笔法简炼雄劲",[7,209,23,24,225,173,177,29,176,109,466,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],{"id":12870,"slug":12871,"title":12872,"dynasty":99,"author":2146,"museum":206,"description":12873,"tags":12874,"thumbUrl":12875,"material":712,"size":12876,"collection":44,"collections":12877,"showCount":12860,"zanCount":1337,"manualWeight":48,"mainColor":94},222366,"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[7,23,25,173,177,86,263,29,1365,106,60,466,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f56c2e7c9e604b90f864ec56.jpg","30x210",[44,163],{"id":12879,"slug":12880,"title":12881,"dynasty":99,"author":170,"museum":523,"description":12882,"tags":12883,"thumbUrl":12884,"material":573,"size":12885,"collection":90,"collections":12886,"showCount":12860,"zanCount":2209,"manualWeight":48,"mainColor":49},222117,"chun-xuan-tu-shen-zhou-222117","椿萱图","此画的主体为椿萱，双钩设色。图绘千年椿树高大挺拔，枝叶繁茂；树下奇石玲珑，兰草丛生；萱草清柔透明，婀娜多姿；花朵妍丽娇嫩，宛如美女横波微盼。图右上角行书自题七律一首曰：“灵椿寿及八千岁，萱草同生寿亦同。白发高堂进春酒，凤凰飞下影云中。沈周”钤朱文 “沈氏启南”印、白文 “白石翁”印。沈周是个孝子，51岁时其父去世，一直留家照顾母亲，这也是他多次婉辞出仕的理由。其母99岁去世后，他多次创作思萱题材以怀念母亲。\n古代传说大椿长寿，庄子曾经说过“上古有大椿者，以八千岁为春，八千岁为秋”，可见它有多么长寿。因此古人就把它拿来比喻父亲，盼望父亲像大椿一样长生不老。后来为一切男性长辈祝寿，都尊称对方为“椿寿”。又因为当年孔子的儿子孔鲤怕打扰父亲思考问题，“趋庭而过”，快步走过自家的庭院，因此古人就把“椿”和“庭”合起来称“椿庭”，称父亲为“椿庭”。古人不单独把父亲称为“椿”，那毕竟是一棵树，而是称为“椿庭”。将“椿”、“萱”合称“椿萱”即代指父母，父母都健在称为“椿萱并茂”，前引“堂上椿萱雪满头”的诗句就是形容父母都老了，头发都白了。",[7,23,27,28,866,978,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa835837569826e86e816c94d9ef1b7d0.jpg","纵170.9厘米，横92.8厘米",[90,45],{"id":12888,"slug":12889,"title":12890,"dynasty":189,"author":4438,"museum":1406,"description":12891,"tags":12892,"thumbUrl":12893,"material":573,"size":12894,"collection":181,"collections":12895,"showCount":12860,"zanCount":1104,"manualWeight":48,"mainColor":49},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[7,23,24,225,27,177,29,175,174,34,176,106,109,1267,38,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[181,45],{"id":12897,"slug":12898,"title":8190,"dynasty":18,"author":12899,"museum":7116,"description":12900,"tags":12901,"thumbUrl":12902,"material":573,"size":12903,"collection":42,"collections":12904,"showCount":12860,"zanCount":1337,"manualWeight":48,"mainColor":49},221678,"wen-ji-gui-han-tu-zhang-yu-221678","张瑀","全卷共画十二人，前有胡服官员执旗骑马引道，中间是头戴貂冠、身着华丽胡装、骑着骏马的蔡文姬，马前有两人挽缰，后面还有官员护送，并有猎犬、小驹、鹰相随。画面上风沙漫天、人骑错落有致，互相呼应，神情逼真，塞北风光尽现纸上。\n此图所绘是文姬归汉途中的情景。前端一汉人骑老马引路，肩扛圆月旗，躬背缩首，迎风沙而行，侧后方有一马驹紧紧相随。稍后数步便是画卷中心人物蔡文姬，头戴貂冠，身着华丽胡装， 脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[7,209,23,25,244,28,106,150,61,63,263,1647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[42,44,45],{"id":12906,"slug":12907,"title":12908,"dynasty":189,"author":645,"museum":20,"description":12909,"tags":12910,"thumbUrl":12912,"material":527,"size":12913,"collection":44,"collections":12914,"showCount":12860,"zanCount":2209,"manualWeight":48,"mainColor":49},220886,"zhu-ge-liang-xiang-zhou-zhao-meng-fu-220886","诸葛亮像轴","绘诸葛亮手持如意，凭隐囊而坐。隐囊的渊源在印度，汉译佛经中名作丹枕或倚枕，系印度上流社会日常生活中的习用之具。丹枕很早就进入中土（中原），传播时改名为隐囊。此图像中的隐囊既有图式相因的成分，也有着生活中的真实为依凭。",[7,23,24,225,27,28,106,263,8654,1113,12911],"鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff49140761c7111aa118768ff034947.jpg","纵208.4厘米,横100.6厘米",[44,45],{"id":12916,"slug":12917,"title":12918,"dynasty":189,"author":645,"museum":9826,"description":12919,"tags":12920,"thumbUrl":12921,"material":12922,"size":12923,"collection":90,"collections":12924,"showCount":12860,"zanCount":48,"manualWeight":48,"mainColor":94},220827,"er-yang-tu-zhao-meng-fu-220827","二羊图","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[7,23,24,25,173,808,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 水墨","纵25．2厘米，横48．4厘米",[90,163],{"id":12926,"slug":12927,"title":12928,"dynasty":76,"author":336,"museum":12929,"description":12930,"tags":12931,"thumbUrl":12932,"material":123,"size":12933,"collection":90,"collections":12934,"showCount":12860,"zanCount":2209,"manualWeight":48,"mainColor":94},220370,"ba-jun-tu-juan-lang-shi-ning-220370","八骏图卷","江西省博物馆","是为康熙第二十一子慎郡王允禧所作。八匹骏马神情、姿态各异，是其晚年的精品之作",[7,209,23,24,25,28,27,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5c37a9d55cc287a2651cfb1a099453.jpg","52.7厘米* 92厘米",[90,45],{"id":12936,"slug":12937,"title":12938,"dynasty":76,"author":4406,"museum":20,"description":12939,"tags":12940,"thumbUrl":12941,"material":123,"size":12942,"collection":181,"collections":12943,"showCount":12860,"zanCount":2209,"manualWeight":48,"mainColor":94},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[7,23,24,25,26,27,29,177,557,34,468,7944,37,1087],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[181],{"id":12945,"slug":12946,"title":12947,"dynasty":76,"author":278,"museum":447,"description":12948,"tags":12949,"thumbUrl":12950,"material":123,"size":139,"collection":44,"collections":12951,"showCount":12860,"zanCount":1337,"manualWeight":48,"mainColor":94},218429,"yang-gui-fei-you-yuan-ban-hua-yi-ming-218429","杨贵妃游园版画","红衣仕女身姿婉约，凝眸间似含游园的惬意；跪姿侍从持物躬身，恭谨神态跃然纸上。竹栏掩映的庭院里，花木扶疏，石径蜿蜒，衬出几分雅致清幽。右侧人物立于栏侧，目光轻落，似与仕女共享园景之美。画面以流畅线条勾勒衣纹，色彩古朴却明艳，将古典游园的闲适氛围与人物互动巧妙融合。飘动的衣袂、点缀的花木、竹栏的纹理，每一处细节都传递着千年雅致韵味，让人仿佛窥见那段悠然的园居时光，沉浸在古典生活的清幽与闲适中。",[7,23,4172,4173,27,106,59,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0caa96964a9db4f424c1e94abf61435.jpg",[44],{"id":12953,"slug":12954,"title":12955,"dynasty":189,"author":278,"museum":447,"description":12956,"tags":12957,"thumbUrl":12958,"material":123,"size":12959,"collection":44,"collections":12960,"showCount":12860,"zanCount":48,"manualWeight":48,"mainColor":49},218322,"di-shi-san-luo-han-yin-jie-tuo-yi-ming-218322","第十三罗汉因揭陀","铭文表明，这是一套16罗汉中的第13罗汉，其余的已经没有了。笔法工整，颜料精致，是刘墉的遗作。我们不知道灵芝上的苔藓裂纹是否是独一无二的，还是因为绿色石头的失色而造成的。",[7,23,24,225,27,28,243,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71bf7fa5ae17cb049fe8365b643e0e.jpg","126x61.5",[44],{"id":12962,"slug":12963,"title":12964,"dynasty":189,"author":645,"museum":20,"description":646,"tags":12965,"thumbUrl":12966,"material":409,"size":649,"collection":139,"collections":12967,"showCount":12860,"zanCount":48,"manualWeight":48,"mainColor":49},214287,"xiao-kai-luo-shen-fu-ce-7-zhao-meng-fu-214287","小楷洛神赋册-7",[7,86,621,8606,81,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4e88283185d4fe6e63d850029edd7b.jpg",[],{"id":12969,"slug":12970,"title":12971,"dynasty":18,"author":5793,"museum":311,"description":12972,"tags":12973,"thumbUrl":12975,"material":2164,"size":2165,"collection":139,"collections":12976,"showCount":12977,"zanCount":1337,"manualWeight":48,"mainColor":94},289727,"li-bai-xing-yin-tu-liang-kai-289727","李白行吟图","该图描绘了李白的形象，作者梁楷在画面上没有任何背景，只用寥寥数笔画出李白飘飘欲仙，冉冉欲举的形象。他不同于屈原行吟式的忧愤，也不同于杜甫行吟式的深沉，而是浪漫欹侧，嬉笑怒斥的“诗仙”。",[7,209,23,173,106,225,263,400,12974],"行吟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba1e42d1fc4ad5f1a90454310803462.jpg",[],108,{"id":12979,"slug":12980,"title":4458,"dynasty":18,"author":553,"museum":206,"description":12981,"tags":12982,"thumbUrl":12983,"material":327,"size":12984,"collection":42,"collections":12985,"showCount":12977,"zanCount":48,"manualWeight":48,"mainColor":49},288542,"xue-jing-shan-shui-tu-guo-xi-288542","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[7,209,23,29,173,2019,108,109,174,107,865,176,4969,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[42],{"id":12987,"slug":12988,"title":986,"dynasty":189,"author":9788,"museum":101,"description":12989,"tags":12990,"thumbUrl":12991,"material":67,"size":12992,"collection":139,"collections":12993,"showCount":12977,"zanCount":1009,"manualWeight":48,"mainColor":49},232772,"bai-hua-tu-juan-wang-yuan-232772","王渊，生卒年不详，元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。\n幼习丹青，赵孟頫多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。\n人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[7,209,23,25,27,28,83,369,404,989,1712,405,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c480c150ed6fe88a7f552eddcaa50d.jpg","32.1x 247.7cm",[],{"id":12995,"slug":12996,"title":12997,"dynasty":189,"author":278,"museum":311,"description":12998,"tags":12999,"thumbUrl":13003,"material":2164,"size":2165,"collection":139,"collections":13004,"showCount":12977,"zanCount":1337,"manualWeight":48,"mainColor":49},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[7,23,24,25,104,244,28,433,107,13000,149,106,4140,282,13001,118,13002,3875],"桥","宫殿式建筑","龙舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg",[],{"id":13006,"slug":13007,"title":13008,"dynasty":189,"author":278,"museum":311,"description":13009,"tags":13010,"thumbUrl":13011,"material":139,"size":139,"collection":139,"collections":13012,"showCount":12977,"zanCount":2209,"manualWeight":48,"mainColor":49},228168,"fang-qian-xuan-hua-niao-hua-yi-ming-228168","仿钱选花鸟画","画面取春日一角，海棠柔枝斜出，白花轻绽，晕染出温润秀雅的底色。两只禽鸟动静相映，一只伫立于高枝，羽色晕染细腻柔和，神态悠然自若；另一只俯身枝桠，似在啄弄新蕊，灵动尽显。右上角飞虫轻掠，更添鲜活生趣。\n\n整幅设色浅淡清丽，勾勒线条柔婉精细，尽得原作花鸟古雅秀润之韵，将春日林禽的恬然意趣收于尺幅之间，笔墨雅致内敛，闲静雅致的小景里，藏着春日最动人的温柔生机。",[7,23,209,24,105,28,27,83,370,62,926,607,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0e41ae4620431cb6be12a31d46f40a.jpg",[],{"id":13014,"slug":13015,"title":13016,"dynasty":18,"author":11652,"museum":311,"description":13017,"tags":13018,"thumbUrl":13019,"material":139,"size":139,"collection":139,"collections":13020,"showCount":12977,"zanCount":1009,"manualWeight":48,"mainColor":94},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[7,209,23,24,1352,28,27,83,512,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],{"id":13022,"slug":13023,"title":12270,"dynasty":99,"author":2146,"museum":101,"description":13024,"tags":13025,"thumbUrl":13026,"material":5090,"size":13027,"collection":139,"collections":13028,"showCount":12977,"zanCount":1337,"manualWeight":48,"mainColor":94},222336,"mo-zhu-tu-juan-tang-yin-222336","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[7,23,24,25,173,226,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109eda6bf170676477b998002e80e269.jpg","29.1x150.2cm",[],{"id":13030,"slug":13031,"title":13032,"dynasty":99,"author":170,"museum":206,"description":2203,"tags":13033,"thumbUrl":13034,"material":699,"size":4104,"collection":139,"collections":13035,"showCount":12977,"zanCount":1337,"manualWeight":48,"mainColor":94},222107,"he-hua-yu-dun-wa-shen-zhou-222107","荷花与蹲蛙",[7,209,23,24,173,400,263,136,7874,137,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa0b35a5a56cdef8fbb2e9da30170c2.jpg",[],{"id":13037,"slug":13038,"title":745,"dynasty":189,"author":13039,"museum":101,"description":13040,"tags":13041,"thumbUrl":13042,"material":27,"size":13043,"collection":163,"collections":13044,"showCount":12977,"zanCount":48,"manualWeight":48,"mainColor":94},221863,"mo-zhu-tu-zhao-yong-221863","赵雍","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[7,23,209,24,173,86,178,263,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c49ae27cf37c90ce47878755601d49.jpg","26.7×172.7cm",[163,1896],{"id":13046,"slug":13047,"title":13048,"dynasty":54,"author":13049,"museum":206,"description":13050,"tags":13051,"thumbUrl":13052,"material":712,"size":13053,"collection":328,"collections":13054,"showCount":12977,"zanCount":2209,"manualWeight":48,"mainColor":94},221081,"shu-pu-quan-juan-sun-guo-ting-221081","书谱全卷","孙过庭","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为 “序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为 “谱”，作者生前未能完成，现仅存第一卷。《书谱》对中国书法的影响是非常巨大的，奠定了书法理论的基本框架。其中提到反对写字如同绘画“巧涉丹青功亏翰墨”，认为书法审美观念要“趋变适时”，所谓“质文三变，驰骛沿革，物理常然”，反对把书法当作秘诀，择人而授的保守态度。孙过庭认为习书法应要篆、隶、楷、草四书融合交汇，否则想谈书法，是不可能的。“草不兼真，殆于专谨；真不通草，殊非翰札，真以点画为形质，使转为情性；草以点画为情性，使转为形质。草乖使转，不能成字；真亏点画，犹可记文。回互虽殊，大体相涉。故亦傍通二篆，俯贯八分，包括篇章，涵泳飞自。若毫厘不察，则胡越殊风者焉。”",[7,209,23,24,25,2570,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[328,2097],{"id":13056,"slug":13057,"title":2202,"dynasty":99,"author":2494,"museum":20,"description":13058,"tags":13059,"thumbUrl":13060,"material":699,"size":13061,"collection":181,"collections":13062,"showCount":12977,"zanCount":2209,"manualWeight":48,"mainColor":94},220918,"shan-shui-ce-dong-qi-chang-220918","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[7,23,173,177,81,86,178,263,29,734,282,384,385,229,35,2279,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[181,163],{"id":13064,"slug":13065,"title":13066,"dynasty":949,"author":1940,"museum":1941,"description":13067,"tags":13068,"thumbUrl":13070,"material":139,"size":139,"collection":139,"collections":13071,"showCount":12977,"zanCount":2209,"manualWeight":48,"mainColor":94},220491,"zhang-da-qian-yang-xiong-du-shu-tu-zhang-da-qian-220491","张大千杨雄读书图","此作用淡墨铺就清寂意境，右侧枯木虬劲苍古，枝桠错落间漫出萧索秋意。嶙峋湖石立在一旁，苔痕轻缀，晕开幽幽古意。\n\n榻上主人眉目疏朗静和，正浸在书卷意趣里神游，身侧侍童垂首伫立，一室安闲自适。案头笔墨横陈，暗合读书主题。\n\n左上角题笔行书舒展雅致，书画相映，文气暗生。全幅以水墨淡绘，摒去浓丽敷色，以极简笔触勾勒人物情态与周遭景致，将贤士沉湎诗书、物我两忘的静穆心境，晕染得淋漓尽致，尽显林下雅逸风流。",[7,23,24,225,173,28,106,229,866,5153,4420,1115,1116,4421,13069,65],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9c04228945a41faa0f8502855c33b.jpg",[],{"id":13073,"slug":13074,"title":13075,"dynasty":76,"author":12204,"museum":1098,"description":13076,"tags":13077,"thumbUrl":13079,"material":88,"size":13080,"collection":44,"collections":13081,"showCount":12977,"zanCount":2209,"manualWeight":48,"mainColor":94},220140,"shi-nv-xi-ying-tu-juan-ding-guan-peng-220140","仕女戏婴图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年（1770年）以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[7,28,27,25,263,106,59,13078,436,10468,1003],"婴孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff310295ea2961dee759cc9fec13486b2.jpg","24.64*167.48厘米",[44],{"id":13083,"slug":13084,"title":13085,"dynasty":76,"author":13086,"museum":8534,"description":13087,"tags":13088,"thumbUrl":13089,"material":88,"size":13090,"collection":181,"collections":13091,"showCount":12977,"zanCount":48,"manualWeight":48,"mainColor":94},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[7,23,24,209,225,27,26,177,29,1365,108,106,35,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[181],{"id":13093,"slug":13094,"title":13095,"dynasty":99,"author":2146,"museum":447,"description":13096,"tags":13097,"thumbUrl":13098,"material":123,"size":13099,"collection":44,"collections":13100,"showCount":12977,"zanCount":2209,"manualWeight":48,"mainColor":49},219791,"xian-shan-ji-xue-tu-wei-tang-yin-219791","仙山积雪图(伪)","以淡赭晕染层叠雪山，留白造境尽显雪域寥廓空寂。红衣胡商与褐驼形成鲜亮色彩反差，醒目亮眼。人物虬髯胡服，牵驼徐行，骆驼憨拙生动，抬蹄缓移，将塞外羁旅的苦寒苍茫尽显笔底。\n\n线条简括写意，舍弃繁复皴擦，以极简色调烘托荒寒辽远的异域氛围，写意间藏质朴厚重，把行者的孤寂与天地的浩渺相融，淡远清旷，尽显萧瑟冷寂的雪域行旅意趣。",[7,23,225,27,106,808,29,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0633bdf79276409a6fb09df39c2199.jpg","纵109.9、横38.9厘米",[44],{"id":13102,"slug":13103,"title":13104,"dynasty":18,"author":418,"museum":206,"description":13105,"tags":13106,"thumbUrl":13107,"material":123,"size":13108,"collection":90,"collections":13109,"showCount":12977,"zanCount":48,"manualWeight":48,"mainColor":49},219243,"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[7,23,24,225,28,27,83,402,1628,405,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[90,42,45],{"id":13111,"slug":13112,"title":13113,"dynasty":18,"author":13114,"museum":20,"description":13115,"tags":13116,"thumbUrl":13117,"material":699,"size":13118,"collection":328,"collections":13119,"showCount":12977,"zanCount":1337,"manualWeight":48,"mainColor":94},219143,"xiao-kai-ba-wang-xian-zhi-bao-mu-tie-jiang-kui-219143","小楷·跋王献之保母帖","姜夔","姜夔传世墨迹不多。从小楷《跋王献之保母帖》中可以看出他用笔精到，典雅俊润，且受初唐诸家书风影响，不随时俗，清新脱俗。",[7,25,86,621,8606,263,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d86690fd5236097ac85f5440054f5e7.jpg","纵31.6厘米，横708.3厘米",[328],{"id":13121,"slug":13122,"title":13123,"dynasty":18,"author":1419,"museum":13124,"description":13125,"tags":13126,"thumbUrl":13127,"material":123,"size":13128,"collection":90,"collections":13129,"showCount":12977,"zanCount":1337,"manualWeight":48,"mainColor":629},218913,"mei-shi-tu-ma-yuan-218913","梅石图","伯克利艺术博物馆","这幅画描绘了一棵老梅树从深谷野塘边的一块巨大岩石中探出头来，一只野凫藏在水草中。岩石的凿刻和梅树的拖曳枝条都是马远的绘画风格。",[7,209,23,24,173,27,29,402,229,1423,866,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[90,181],{"id":13131,"slug":13132,"title":13133,"dynasty":18,"author":13134,"museum":6182,"description":13135,"tags":13136,"thumbUrl":13137,"material":123,"size":13138,"collection":42,"collections":13139,"showCount":12977,"zanCount":48,"manualWeight":48,"mainColor":94},218643,"yue-xia-yu-she-tu-gu-liang-218643","月下渔舍图","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[7,23,209,24,29,27,285,867,174,866,176,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[42],{"id":13141,"slug":13142,"title":13143,"dynasty":76,"author":963,"museum":447,"description":964,"tags":13144,"thumbUrl":13145,"material":88,"size":969,"collection":139,"collections":13146,"showCount":12977,"zanCount":48,"manualWeight":48,"mainColor":94},214889,"shan-shui-tu-ce-4-shi-tao-214889","山水图册-4",[7,23,173,177,81,86,263,29,109,174,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d80b1de337411d72d248e61d4a115b1.jpg",[],{"id":13148,"slug":13149,"title":13150,"dynasty":189,"author":645,"museum":20,"description":646,"tags":13151,"thumbUrl":13152,"material":409,"size":649,"collection":139,"collections":13153,"showCount":12977,"zanCount":48,"manualWeight":48,"mainColor":49},214289,"xiao-kai-luo-shen-fu-ce-6-zhao-meng-fu-214289","小楷洛神赋册-6",[7,24,81,621,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adfde336f0c590edf552acd45006506.jpg",[],{"id":13155,"slug":13156,"title":13157,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":13158,"thumbUrl":13159,"material":2164,"size":2165,"collection":139,"collections":13160,"showCount":13161,"zanCount":48,"manualWeight":48,"mainColor":94},283660,"gu-bai-shuang-qin-tu-zhou-zhu-da-283660","古柏双禽图轴",[7,23,209,225,173,83,866,266,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311e7b30ddf2cabaf3bd0c4bbc710bd.jpg",[],107,{"id":13163,"slug":13164,"title":13165,"dynasty":54,"author":239,"museum":311,"description":13166,"tags":13167,"thumbUrl":13168,"material":67,"size":13169,"collection":139,"collections":13170,"showCount":13161,"zanCount":2209,"manualWeight":48,"mainColor":629},232270,"luo-han-tu-zhou-wu-dao-zi-232270","罗汉图轴","吴道子又名道玄，被后人称为“画圣”，开元年间以善画被召入宫廷，擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。存世作品有《送子天王图》，《八十七神仙卷》，《罗汉图立轴》等。",[7,209,23,24,225,243,106,244,27,384,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce47e1d86e72735b929b272c4c741b4c.jpg","148.4x76.6厘米",[],{"id":13172,"slug":13173,"title":13174,"dynasty":277,"author":10009,"museum":13175,"description":13176,"tags":13177,"thumbUrl":13179,"material":13180,"size":13181,"collection":139,"collections":13182,"showCount":13161,"zanCount":48,"manualWeight":48,"mainColor":629},231574,"mu-dan-he-jin-si-que-ge-shi-bei-zhai-231574","牡丹和金丝雀","美国国会图书馆","这幅《牡丹和金丝雀》就是十分典型的葛饰北斋晚期花鸟画。 画面以亮丽的深蓝色为背景，前面是四朵开放得十分热烈的粉色牡丹，中间的花蕊灵动嫩白，在周围绿色的花叶衬托下显得更加娇妍欲滴。葛饰北斋将俯冲向牡丹的金丝雀画在了中央。金丝雀张开双翅，羽翼丰满光滑，富有活力，与平日养在精美鸟笼中的金丝雀截然不同。\n葛饰北斋一直被称为日本美术史上最奇特、最有才气的画家之一。他自称“画狂人”，一生留下了大量的作品，创作一直持续到他90岁去世时的前三个月。他的才能不仅在人们熟悉的风景画领域，在读本插图、花鸟画，甚至《百物语》这种妖怪画等领域都有崭新的表现。他的很多画作都令人耳目一新，深受江户市民的欢迎。",[7,13178,4173,27,83,369,266],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3363479890ca007e42afefe258fccd82.jpg","布面油画","19.2 x 17.4 cm",[],{"id":13184,"slug":13185,"title":13186,"dynasty":18,"author":1721,"museum":311,"description":13187,"tags":13188,"thumbUrl":13189,"material":139,"size":139,"collection":139,"collections":13190,"showCount":13161,"zanCount":48,"manualWeight":48,"mainColor":49},227518,"mo-li-hua-tu-zhao-chang-227518","茉莉花图","赵昌（730—814），字洪祚，天水人。祖不器，父居贞，皆有名于时。李承昭为昭义节度，辟昌在幕府。贞元七年，为虔州刺史。属安南都护为夷獠所逐，拜安南都护，夷人率化。十年，因屋坏伤胫，恳疏乞还，以检校兵部郎中裴泰代之，入拜国子祭酒。及泰为首领所逐，德宗诏昌问状。昌时年七十二，而精健如少年者，德宗奇之，复命为都护，南人相贺。",[7,209,23,24,1004,1352,28,27,82,83,10074,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c26aa0a5bf06d8540629ecbc54cada7.jpg",[],{"id":13192,"slug":13193,"title":13194,"dynasty":76,"author":3223,"museum":583,"description":3224,"tags":13195,"thumbUrl":13196,"material":67,"size":3228,"collection":139,"collections":13197,"showCount":13161,"zanCount":1104,"manualWeight":48,"mainColor":94},222680,"si-ji-hua-niao-tu-ping-3-chen-mei-222680","四季花鸟图屏3",[7,23,24,209,225,28,27,83,695,370,6025,3226,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb354d235264b4e3fbffcc1189098cae9.jpg",[],{"id":13199,"slug":13200,"title":6818,"dynasty":189,"author":13201,"museum":20,"description":13202,"tags":13203,"thumbUrl":13204,"material":67,"size":13205,"collection":163,"collections":13206,"showCount":13161,"zanCount":2209,"manualWeight":48,"mainColor":49},221699,"zhu-shi-tu-zhou-gu-an-221699","顾安","该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[7,23,209,225,173,226,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff805e3a06970a6ba0a00217aa34855.jpg","170.7x99.7",[163,1896],{"id":13208,"slug":13209,"title":1462,"dynasty":18,"author":1793,"museum":311,"description":9827,"tags":13210,"thumbUrl":13211,"material":27,"size":139,"collection":42,"collections":13212,"showCount":13161,"zanCount":48,"manualWeight":48,"mainColor":49},221441,"shan-shui-tu-li-cheng-221441",[7,23,24,209,173,177,27,29,30,108,109,174,34,558,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[42,181,163],{"id":13214,"slug":13215,"title":13216,"dynasty":18,"author":418,"museum":101,"description":13217,"tags":13218,"thumbUrl":13219,"material":573,"size":13220,"collection":42,"collections":13221,"showCount":13161,"zanCount":48,"manualWeight":48,"mainColor":94},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[7,23,24,25,28,27,86,263,83,226,229,1628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[42,1896],{"id":13223,"slug":13224,"title":13225,"dynasty":18,"author":553,"museum":206,"description":13226,"tags":13227,"thumbUrl":13228,"material":67,"size":13229,"collection":42,"collections":13230,"showCount":13161,"zanCount":2209,"manualWeight":48,"mainColor":49},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[7,23,24,25,29,177,173,557,34,865,108,109,174,467,119,1265,5957,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[42,181,163],{"id":13232,"slug":13233,"title":13234,"dynasty":189,"author":921,"museum":222,"description":13235,"tags":13236,"thumbUrl":13237,"material":123,"size":139,"collection":44,"collections":13238,"showCount":13161,"zanCount":1104,"manualWeight":48,"mainColor":94},220368,"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[7,209,23,24,25,28,27,178,86,263,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[44,45],{"id":13240,"slug":13241,"title":13242,"dynasty":99,"author":170,"museum":1250,"description":1251,"tags":13243,"thumbUrl":13244,"material":699,"size":1255,"collection":139,"collections":13245,"showCount":13161,"zanCount":2209,"manualWeight":48,"mainColor":255},220056,"hu-qiu-shi-er-jing-tu-ce-11-shen-zhou-220056","虎丘十二景图册-11",[7,23,173,104,81,177,29,107,108,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6682f58f7558d280563737b5c65e9a.jpg",[],{"id":13247,"slug":13248,"title":13249,"dynasty":99,"author":2146,"museum":447,"description":13250,"tags":13251,"thumbUrl":13252,"material":327,"size":139,"collection":44,"collections":13253,"showCount":13161,"zanCount":1104,"manualWeight":48,"mainColor":49},219551,"lao-zi-tu-tang-yin-219551","老子图","笔意简逸空灵，以淡墨轻勾铺就画面。老子宽袍长髯，安坐牛背，神态超旷淡然，不见半分行旅劳顿，尽显太上忘情的出尘之姿，将道家风骨藏于简约笔墨之中。\n\n水牛造型朴拙写实，缓步行进间憨态尽显，与老子的清矍超然相映成趣。设色浅淡近乎白描，衣纹褶皱简括凝练，留白处氤氲着悠远超脱的林下之风，暗合道家“大象无形”的哲思。\n\n整幅画不见繁复铺陈，以极简物象传递出逍遥物外的高远意境，是兼具文思与笔情的写意佳作。",[7,23,24,209,173,244,106,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b062d62495bd228b5ed34446dc0182.jpg",[44],{"id":13255,"slug":13256,"title":13257,"dynasty":99,"author":13258,"museum":5803,"description":13259,"tags":13260,"thumbUrl":13261,"material":409,"size":13262,"collection":181,"collections":13263,"showCount":13161,"zanCount":2209,"manualWeight":48,"mainColor":94},215039,"pu-tao-tu-nao-an-215039","葡萄图","挠庵","挠庵是明朝时期的一位著名文人。他是著名的画家，以他的葡萄图而闻名。葡萄图是他的代表作之一，是他在明朝时期所创作的一幅葡萄图。这幅画展示了一个葡萄园的景象，画中的葡萄树和葡萄非常逼真，可以看出挠庵在绘画技巧方面颇有造诣。葡萄图被认为是明朝时期著名画家的杰作之一，被誉为“葡萄图之祖”，在中国画坛上享有盛誉。",[7,23,24,173,400,83,2569,606,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f035cf390a823093bc490ce8493db.jpg","27.5×29.3cm",[181],{"id":13265,"slug":13266,"title":9668,"dynasty":18,"author":1793,"museum":311,"description":13267,"tags":13268,"thumbUrl":13269,"material":2164,"size":2165,"collection":139,"collections":13270,"showCount":165,"zanCount":1337,"manualWeight":48,"mainColor":49},288290,"mao-lin-yuan-xiu-tu-li-cheng-288290","《茂林远岫图》描绘的是夏日山水景色，其中峰峦叠翠，奇峰矗立，远山奇峰崛立，空远清旷；近处轻舟泊渡，行人车马往来；中景山谷之间殿阁林立，塔影隐没其中，飞泉水口，如闻其声，如临其境，整幅作品呈现了一派寓闹于静的景致。\n《茂林远岫图》就绘画技法而论，刻画细腻，神形有致；画面构图“三远”法的并用，构景主次疏密的安排等，无不透露出北宋山水画风貌的典型气息。",[7,209,23,24,25,173,177,29,9671,557,34,4010,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ba5f640d5b6339147fba4ccbde437.jpg",[],{"id":13272,"slug":13273,"title":13274,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":13275,"thumbUrl":13276,"material":2164,"size":2165,"collection":139,"collections":13277,"showCount":165,"zanCount":2209,"manualWeight":48,"mainColor":94},287419,"hai-tang-chun-qiu-tu-zhu-da-287419","海棠春秋图",[7,209,23,24,225,173,83,1353,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5640b26d0debfdda6acd1c0fbf679437.jpg",[],{"id":13279,"slug":13280,"title":13281,"dynasty":18,"author":2297,"museum":9826,"description":13282,"tags":13283,"thumbUrl":13284,"material":699,"size":13285,"collection":139,"collections":13286,"showCount":165,"zanCount":1337,"manualWeight":48,"mainColor":49},232874,"pan-tao-qing-niao-tu-juan-li-di-232874","蟠桃青鸟图卷","此幅重色画蟠桃青鸟，用笔应物象形，禽鸟造形精确，蟠桃用没骨画法，枝叶安排妥帖，整体观之，明代宫廷画家所作的可能性大一些。 李迪，生卒年不详。",[7,209,23,24,25,28,27,83,6739,266,34,2267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],{"id":13288,"slug":13289,"title":13290,"dynasty":18,"author":1699,"museum":12396,"description":13291,"tags":13292,"thumbUrl":13293,"material":573,"size":13294,"collection":42,"collections":13295,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":49},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","雪山行旅图","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[7,23,209,24,225,173,27,29,7577,176,865,108,109,1422,177,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[42,181],{"id":13297,"slug":13298,"title":7731,"dynasty":18,"author":278,"museum":101,"description":13299,"tags":13300,"thumbUrl":13301,"material":13302,"size":13303,"collection":42,"collections":13304,"showCount":165,"zanCount":2209,"manualWeight":48,"mainColor":49},223647,"guan-pu-tu-yi-ming-223647","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[7,23,24,1218,27,177,176,466,175,1365,109,434,866,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[42,181],{"id":13306,"slug":13307,"title":13308,"dynasty":76,"author":10456,"museum":13309,"description":13310,"tags":13311,"thumbUrl":13312,"material":139,"size":139,"collection":328,"collections":13313,"showCount":165,"zanCount":1337,"manualWeight":48,"mainColor":49},222799,"shao-xue-qin-shu-ce-deng-shi-ru-222799","少学琴书册","上海韩天衡氏私人收藏","体势值由雅驯而趋开张，笔意由温润而趋劲豪，气格宏阔而无纵横习气。是一件由厚积走向勃发之际的别致的佳作，多堪玩味。",[7,86,621,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08846c0fd86ec02d5cc43166ed0282fa.jpg",[328],{"id":13315,"slug":13316,"title":13317,"dynasty":76,"author":336,"museum":13318,"description":13319,"tags":13320,"thumbUrl":13321,"material":573,"size":13322,"collection":90,"collections":13323,"showCount":165,"zanCount":2209,"manualWeight":48,"mainColor":49},222774,"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[7,209,23,24,28,27,150,2607,866,558,1003,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","横62厘米，纵115.1厘米",[90,45],{"id":13325,"slug":13326,"title":13327,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":13328,"thumbUrl":13330,"material":27,"size":1608,"collection":139,"collections":13331,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":94},222753,"xian-e-chang-chun-tu-08a-ji-guan-hua-lang-shi-ning-222753","仙萼长春图-08a（鸡冠花）",[7,315,23,24,83,28,27,13329,229,607,606],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcd6f6155e0f1e2f0398d2738fe5f5a.jpg",[],{"id":13333,"slug":13334,"title":13335,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":13336,"thumbUrl":13337,"material":27,"size":1608,"collection":139,"collections":13338,"showCount":165,"zanCount":2209,"manualWeight":48,"mainColor":94},222741,"xian-e-chang-chun-tu-02a-shao-yao-lang-shi-ning-222741","仙萼长春图-02a（芍药）",[7,23,209,28,27,83,990,62,853,658,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c91a3aea82e716ab6aa9b460afb178.jpg",[],{"id":13340,"slug":13341,"title":13342,"dynasty":99,"author":100,"museum":20,"description":13343,"tags":13344,"thumbUrl":13346,"material":40,"size":13347,"collection":181,"collections":13348,"showCount":165,"zanCount":1104,"manualWeight":48,"mainColor":49},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[7,23,27,28,29,105,13345,109,1365,176,466,106,557],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[181,45],{"id":13350,"slug":13351,"title":13352,"dynasty":18,"author":1419,"museum":1666,"description":13353,"tags":13354,"thumbUrl":13356,"material":6707,"size":13357,"collection":42,"collections":13358,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":49},221667,"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[7,209,23,24,225,173,27,106,29,109,229,13355,177,178,263],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","纵77.6厘米，横33厘米",[42,181],{"id":13360,"slug":13361,"title":10315,"dynasty":18,"author":1419,"museum":206,"description":13362,"tags":13363,"thumbUrl":13364,"material":27,"size":13365,"collection":42,"collections":13366,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":49},221533,"hua-xue-jing-zhou-ma-yuan-221533","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[7,23,24,225,28,177,27,29,2019,175,403,150,106,108,466,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[42,181,45],{"id":13368,"slug":13369,"title":13370,"dynasty":18,"author":3466,"museum":20,"description":13371,"tags":13372,"thumbUrl":13374,"material":699,"size":12756,"collection":42,"collections":13375,"showCount":165,"zanCount":1337,"manualWeight":48,"mainColor":94},221500,"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[7,23,209,24,25,173,1904,400,83,4675,13373,783,1819,5987,370,12221,12751,4677,4676,136,84,284,314,607],"水族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg",[42,90,163],{"id":13377,"slug":13378,"title":6818,"dynasty":76,"author":77,"museum":206,"description":13379,"tags":13380,"thumbUrl":13381,"material":712,"size":13382,"collection":163,"collections":13383,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":255},220994,"zhu-shi-tu-zhou-yun-shou-ping-220994","图绘湖石一块，呈山字型耸立，边缘以浓墨点缀，棱角坚锐；后侧的一丛竹子杆直修长，以没骨法淡墨绘竹叶微微右倾，似敷上一层薄薄的寒霜；地面杂草数丛，霜后渐以枯败。虽为深秋初冬之时，但画面错落有致，清新自然。",[7,23,225,173,226,385,928,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1acd4f20c3b94cb797c72d0233bd11.jpg","141x74cm",[163,1896],{"id":13385,"slug":13386,"title":13387,"dynasty":189,"author":767,"museum":101,"description":13388,"tags":13389,"thumbUrl":13390,"material":88,"size":13391,"collection":181,"collections":13392,"showCount":165,"zanCount":2209,"manualWeight":48,"mainColor":49},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[7,23,24,209,225,173,27,29,107,109,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[181,45],{"id":13394,"slug":13395,"title":13396,"dynasty":99,"author":1362,"museum":2958,"description":13397,"tags":13398,"thumbUrl":13403,"material":88,"size":13404,"collection":181,"collections":13405,"showCount":165,"zanCount":2209,"manualWeight":48,"mainColor":94},220376,"han-lin-fei-xue-tu-wen-zheng-ming-220376","寒林飞雪图","此图是画唐代诗人许浑”舟横野渡寒风急，门掩深山夜雪深“的诗意，而用李营丘笔意，深得寒江寂寂，雪峰无言之境。",[7,23,173,1218,1776,13399,13400,13401,13402,174,2789,107,865,175,12739],"飞雪","雪峰","深山","野渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7247001349454a60fdcd1b8936e7b822.jpg","101.1x46.5厘米",[181,163],{"id":13407,"slug":13408,"title":13409,"dynasty":99,"author":278,"museum":447,"description":13410,"tags":13411,"thumbUrl":13412,"material":123,"size":13413,"collection":44,"collections":13414,"showCount":165,"zanCount":2209,"manualWeight":48,"mainColor":49},219569,"xian-nv-feng-huang-tu-yi-ming-219569","仙女凤凰图","仕女身姿柔婉，高髻簪饰，曳地长裙衣带萦回，袂角随风轻扬，仪态娴静端雅，尽是闺秀仙姿。身旁凤凰翎毛苍劲蓬松，写意笔法朴拙大气，与仕女衣纹的细劲铁线描相映成趣。浅淡设色融于古旧绢底，晕染出幽渺古雅的氛围感，仙姝伴灵禽，似正欲乘鸾凌云，缥缈出尘。\n\n笔墨兼具工写之妙，仕女沉静柔婉，凤凰灵动苍健，动静相生，将世外仙乡的清隽逸气凝于尺幅之间，尽显雅致出尘的古典意韵。",[7,23,24,244,27,106,387,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5aad1fb6eda19289875db3f46e21ef8.jpg","146.8x94.5厘米",[44],{"id":13416,"slug":13417,"title":13418,"dynasty":204,"author":2114,"museum":447,"description":13419,"tags":13420,"thumbUrl":13421,"material":123,"size":139,"collection":90,"collections":13422,"showCount":165,"zanCount":1337,"manualWeight":48,"mainColor":49},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[7,209,23,24,81,28,27,83,266,370,62,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[90],{"id":13424,"slug":13425,"title":13426,"dynasty":18,"author":2039,"museum":311,"description":13427,"tags":13428,"thumbUrl":13429,"material":123,"size":13430,"collection":42,"collections":13431,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":49},219006,"song-yin-xian-zuo-tu-li-song-219006","松荫闲坐图","苍松覆荫，烟岚轻笼远山，黛色隐于薄雾间。近树虬枝盘曲，叶色深浓如墨，似将尘嚣隔绝。林间空地上，一人闲坐石畔，或凝思或望远，身旁童子悄然侍立，动静相衬，幽趣自生。\n\n笔墨简淡却意韵悠长：山石以斧劈皴略施渲染，显峻秀之态；树木枝干苍劲，线条灵动如舞。整幅画于静谧中藏生机，简远中见雅致，恰是宋人山水小品里“天人合一”的写照——将文人寄情林泉、超然物外的心绪，融于每一笔墨、每一处留白，读来如沐清风，心向往之。",[7,23,24,225,173,177,29,1365,1423,866,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70413899e21118c8e47102d3e86827c9.jpg","118x57",[42],{"id":13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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[7,23,24,243,27,28,106,1553,281,4778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b48459cb8a2b78d98dd220d80ef855.jpg",[],105,{"id":13461,"slug":13462,"title":13463,"dynasty":189,"author":1539,"museum":206,"description":13464,"tags":13465,"thumbUrl":13466,"material":699,"size":13467,"collection":139,"collections":13468,"showCount":13459,"zanCount":2209,"manualWeight":48,"mainColor":94},231500,"mo-zhu-pu-ce-ye-gao-qing-si-fu-wu-zhen-231500","墨竹谱册页（高清四幅）","吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病",[7,23,209,24,81,173,86,263,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a763ebdaf12beb20835513dca92c2a2.jpg","高403厘米，宽52厘米",[],{"id":13470,"slug":13471,"title":5802,"dynasty":18,"author":1699,"museum":311,"description":13472,"tags":13473,"thumbUrl":13475,"material":139,"size":139,"collection":139,"collections":13476,"showCount":13459,"zanCount":1009,"manualWeight":48,"mainColor":49},227801,"gong-nv-tu-liu-song-nian-227801","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[7,23,209,24,1352,28,27,106,59,384,3157,13474,65,63],"凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],{"id":13478,"slug":13479,"title":13480,"dynasty":18,"author":708,"museum":311,"description":13481,"tags":13482,"thumbUrl":13483,"material":139,"size":139,"collection":139,"collections":13484,"showCount":13459,"zanCount":48,"manualWeight":48,"mainColor":255},227724,"zuo-kan-yun-qi-xia-gui-227724","坐看云起","《坐看云起图》为南宋画家夏圭所绘。左侧山石处款署“夏圭”。\n图绘江流滚滚，一人坐于临江高台上，旁放一高杖。身后峭壁有一古松，盘虬曲折。\n\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[7,209,23,173,29,1352,177,106,1365,109,229,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1bea9257f9b429a7874901d3a2ca.jpg",[],{"id":13486,"slug":13487,"title":13488,"dynasty":76,"author":1744,"museum":311,"description":2695,"tags":13489,"thumbUrl":13490,"material":712,"size":139,"collection":90,"collections":13491,"showCount":13459,"zanCount":2209,"manualWeight":48,"mainColor":94},223301,"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[7,23,24,225,173,178,263,86,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f693b107ed41d72c1e72ff211b8570.jpg",[90,163],{"id":13493,"slug":13494,"title":13495,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":13496,"thumbUrl":13497,"material":27,"size":1608,"collection":139,"collections":13498,"showCount":13459,"zanCount":2209,"manualWeight":48,"mainColor":94},222751,"xian-e-chang-chun-tu-07a-lang-shi-ning-222751","仙萼长春图-07a",[7,23,24,28,27,83,136,512,137,84,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb31a611f6bc17b2cd92a02ab60f10f.jpg",[],{"id":13500,"slug":13501,"title":13502,"dynasty":189,"author":3051,"museum":1666,"description":13503,"tags":13504,"thumbUrl":13505,"material":40,"size":13506,"collection":44,"collections":13507,"showCount":13459,"zanCount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扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[7,26,27,104,29,107,34,176,2019,266,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2334ec9cbe1a44a99cc3ae230e4e85.jpg","纵42.7cm，横45.2cm",[181,45],{"id":13547,"slug":13548,"title":13549,"dynasty":76,"author":77,"museum":101,"description":13550,"tags":13551,"thumbUrl":13552,"material":13553,"size":13554,"collection":181,"collections":13555,"showCount":13459,"zanCount":48,"manualWeight":48,"mainColor":94},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[7,23,209,24,4850,27,178,86,105,384,607,285,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[181,45],{"id":13557,"slug":13558,"title":13559,"dynasty":189,"author":645,"museum":206,"description":4349,"tags":13560,"thumbUrl":13561,"material":712,"size":13562,"collection":163,"collections":13563,"showCount":13459,"zanCount":1104,"manualWeight":48,"mainColor":49},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图",[7,23,24,225,173,177,178,263,866,229,226,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[163,1896],{"id":13565,"slug":13566,"title":13567,"dynasty":76,"author":2924,"museum":206,"description":12064,"tags":13568,"thumbUrl":13569,"material":88,"size":2929,"collection":139,"collections":13570,"showCount":13459,"zanCount":2209,"manualWeight":48,"mainColor":94},220332,"cao-chong-hua-hui-hu-shi-si-ping-ling-xiao-ju-lian-220332","草虫花卉湖石四屏-凌霄",[7,23,209,225,27,28,369,511,229,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c30eb79bde7328d62f40006fb6c480.jpg",[],{"id":13572,"slug":13573,"title":13574,"dynasty":18,"author":278,"museum":206,"description":13575,"tags":13576,"thumbUrl":13577,"material":123,"size":139,"collection":181,"collections":13578,"showCount":13459,"zanCount":1314,"manualWeight":48,"mainColor":49},218798,"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 中的一幅画。",[7,209,23,24,173,177,1423,866,226,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[181],{"id":13580,"slug":13581,"title":2171,"dynasty":99,"author":278,"museum":447,"description":13582,"tags":13583,"thumbUrl":13584,"material":123,"size":13585,"collection":90,"collections":13586,"showCount":13459,"zanCount":48,"manualWeight":48,"mainColor":49},216733,"hua-niao-tu-yi-ming-216733","花鸟图是中国明朝时期的一种流行的图画作品，通常用来装饰宫殿、庙宇、寺庙和民间住宅。花鸟图画的主题是花和鸟，这些图画通常具有浓郁的艺术气息，并且富有想象力。花鸟图画的风格各异，有的呈现出绚丽多彩的色彩，有的则更加简洁和精细。花鸟图画被广泛地应用于家具、屏风、纸品等各种物品上，为人们的生活带来美感和情感的满足。",[7,23,24,27,28,83,370,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ee16ee0d6aa3b7e54d2fc25984cc1c.jpg","26x22.2cm",[90],{"id":13588,"slug":13589,"title":13590,"dynasty":76,"author":963,"museum":447,"description":964,"tags":13591,"thumbUrl":13592,"material":88,"size":969,"collection":139,"collections":13593,"showCount":13459,"zanCount":48,"manualWeight":48,"mainColor":94},214888,"shan-shui-tu-ce-5-shi-tao-214888","山水图册-5",[7,23,173,27,81,177,29,107,34,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c7502bb24d845dbe3fdcd70b9b300d.jpg",[],{"id":13595,"slug":13596,"title":13597,"dynasty":76,"author":803,"museum":311,"description":13598,"tags":13599,"thumbUrl":13600,"material":139,"size":139,"collection":139,"collections":13601,"showCount":13602,"zanCount":48,"manualWeight":48,"mainColor":94},230120,"ping-lan-shang-he-tu-ren-yi-230120","凭栏赏荷图","《任伯年绘画作品图录》是 27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[7,209,23,24,225,27,28,106,227,136,298,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],104,{"id":13604,"slug":13605,"title":5131,"dynasty":76,"author":2987,"museum":311,"description":13606,"tags":13607,"thumbUrl":13608,"material":2164,"size":2165,"collection":139,"collections":13609,"showCount":13602,"zanCount":48,"manualWeight":48,"mainColor":94},228959,"mu-dan-tu-ce-jiang-ting-xi-228959","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[7,24,28,27,83,369,178,86,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb801dbc41af410daf446972498e3c49f.jpg",[],{"id":13611,"slug":13612,"title":13613,"dynasty":76,"author":7940,"museum":311,"description":13614,"tags":13615,"thumbUrl":13625,"material":139,"size":139,"collection":139,"collections":13626,"showCount":13602,"zanCount":48,"manualWeight":48,"mainColor":94},224449,"tang-yin-shi-yi-tu-li-zhou-wang-hui-224449","唐寅诗意图立轴","此作取景虚实相映，笔意苍秀兼具。右侧危崖层叠，斧劈皴勾勒出山岩厚重质感，苔点晕染让山石愈发生动，崖顶山居藏在深林之中，清寂出尘。左侧烟水浩淼，汀渚林木错落，远处楼阁隐在薄雾间，晕染出空濛烟雨之态。浅滩孤舟随波，渔翁独钓，漾出幽淡闲远的林下意趣。浅绛设色柔和雅致，将宋画的精工与元人山水的萧散相融，把林泉隐逸之思，铺陈为可游可居的湖山胜境，尽显文人山水画里悠远澹泊的雅韵。",[7,23,209,24,225,13616,27,7062,10897,13617,4969,13618,107,174,11269,1082,13619,13620,13621,13622,13623,13624],"文人山水画","危崖","烟水","湖山","隐逸","澹泊","苍秀","萧散","精工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ebebd62a991bc27c793316c7c0ff81.jpg",[],{"id":13628,"slug":13629,"title":13630,"dynasty":18,"author":278,"museum":311,"description":13631,"tags":13632,"thumbUrl":13633,"material":40,"size":13634,"collection":139,"collections":13635,"showCount":13602,"zanCount":1337,"manualWeight":48,"mainColor":49},223374,"feng-huang-tu-zhou-yi-ming-223374","凤凰图轴","图上一只蓝翎凤凰立于花丛中，红冠鲜艳，眼神威严、犀利，羽毛七彩斑斓，尾翎修长，单脚站立彰显百鸟之王的尊贵；四周牡丹盛开，花团锦簇，丹顶鹤、鸳鸯数只陪伴左右。此幅无款无印，应出自宫廷画家之手，宫廷风格甚浓。",[7,209,23,225,28,27,83,387,60,2053,369,34,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b738fbba9f87096a63c79173451352a.jpg","92x43cm",[],{"id":13637,"slug":13638,"title":13639,"dynasty":76,"author":582,"museum":20,"description":13640,"tags":13641,"thumbUrl":13642,"material":13643,"size":13644,"collection":44,"collections":13645,"showCount":13602,"zanCount":1314,"manualWeight":48,"mainColor":49},222874,"bai-zi-tu-leng-mei-222874","百子图","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[7,28,27,25,106,175,107,4208,136,2278,34,298,115,137,8652,114,13000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[44],{"id":13647,"slug":13648,"title":13649,"dynasty":99,"author":10306,"museum":206,"description":10307,"tags":13650,"thumbUrl":13651,"material":67,"size":13652,"collection":44,"collections":13653,"showCount":13602,"zanCount":48,"manualWeight":48,"mainColor":94},222066,"mi-le-fo-wu-bin-222066","弥勒佛",[7,23,24,27,28,243,106,81,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce39456c770de63cb1cae3b58b4969d.jpg","62.3 x 35.3厘米",[44,45],{"id":13655,"slug":13656,"title":13657,"dynasty":18,"author":1419,"museum":206,"description":13658,"tags":13659,"thumbUrl":13664,"material":13665,"size":13666,"collection":42,"collections":13667,"showCount":13602,"zanCount":48,"manualWeight":48,"mainColor":49},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[7,209,23,24,225,173,27,177,29,285,13660,13661,1365,865,106,13662,558,13663,6516],"寒岩","积雪","轩","湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[42,181,163],{"id":13669,"slug":13670,"title":13671,"dynasty":18,"author":5878,"museum":1666,"description":13672,"tags":13673,"thumbUrl":13675,"material":573,"size":13676,"collection":42,"collections":13677,"showCount":13602,"zanCount":1314,"manualWeight":48,"mainColor":49},221353,"zhen-tong-kui-lei-tu-su-han-chen-221353","侲童傀儡图","本画署款苏汉臣所作，苏汉臣（1094―1172），汴梁（今河南开封）人，宋代宫廷画家，历徽宗、高宗、孝宗三朝。苏汉臣画师刘宗古，善画仙佛人物，尤以婴戏图题材最为著名。苏汉臣在宋代画家中以画儿童婴戏著称，因此后世凡见宋人无款婴戏图常题苏汉臣作用来提高画的价值。宋朝社会流行木偶戏，宋人称之为“傀儡戏”，同时傀儡也被制成了儿童的玩具。本幅苏汉臣所画的《侲童傀儡图》描绘的正是三个小童在玩“杖头傀儡”的场景。作者笔下的小童神情专注，笔法简洁细劲，设色典雅。石色的使用最忌板滞轻浮，而本画中的石色明丽沉稳，堪称典范。图中假山的画法与宋徽宗《祥龙石图》如出一辙，阴阳凹凸皆以龙麟状的墨块点画而成，这与南宋院体画喜用小斧劈皴不同。这也在一定程度上反映了作者传承的是北宋宣和院体画风。",[7,209,23,28,27,106,8652,13674,34,1004],"傀儡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128d6f14c797843ff768db6c9441c208.jpg","23.6×23.2cm",[42,44,45],{"id":13679,"slug":13680,"title":13681,"dynasty":54,"author":5714,"museum":206,"description":13682,"tags":13683,"thumbUrl":13684,"material":712,"size":13685,"collection":328,"collections":13686,"showCount":13602,"zanCount":1104,"manualWeight":48,"mainColor":94},221147,"ni-kuan-zan-chu-sui-liang-221147","倪宽赞","历代多认为本帖是褚遂良晚年作品。近代学者则以其文中之避讳用字习惯，与唐代情况不类，且用笔亦与褚书有所出入，结构较似欧体，认为是宋代临写。\n本帖笔划疏瘦，顿挫生姿，笔意翩翩自得，秀丽美妙。《石渠宝笈》载：帖高七寸七分，横五尺二寸七分，字共五十行，满行七字。卷后有赵孟坚、邓文原、柳贯、杨士奇、钱溥等人跋记。\n这件墨迹与褚书碑版相比，风格是一致的。其用笔富于变化，气均力匀；在处处表现运锋着实的同时，也往往参用轻盈飘洒、灵活自然的笔墨。起笔轻捷，收笔沉着，主要笔画适当地伸展，给人以笔势翩翩、萧洒大方、平和闲雅、神爽超迈的感觉。\n王世贞评褚书曰：“一勾一捺有千钧之力，虽外拓取姿，而中擪有法。”由墨迹观之，尤为明显。书风或学钟繇之体而古雅，或师逸少之法而瘦劲。无怪苏轼说：“清远萧洒，微杂隶体。”",[7,86,621,25,263,24,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f90fcb1316afed9d8ea9f3a74f5b414.jpg","纵24.6cm，横170.1cm",[328],{"id":13688,"slug":13689,"title":13690,"dynasty":1483,"author":13691,"museum":20,"description":13692,"tags":13693,"thumbUrl":13694,"material":699,"size":13695,"collection":2097,"collections":13696,"showCount":13602,"zanCount":2209,"manualWeight":48,"mainColor":94},221026,"bo-yuan-tie-wang-xun-221026","伯远帖","王珣","《伯远帖》是晋王珣(350—401年)写的一封信。原文：“珣頓首頓首，伯遠勝業情期群從之寶。自以羸患, 志在優遊。始獲此出意不剋申。分別如昨永爲疇古。遠隔嶺嶠，不相瞻臨。”\n卷前引首有乾隆御书：“江左風華”四大字，上有“乾隆御笔”一玺。并御题：“唐人真迹已不可多得，況晉人耶！內府所藏右軍快雪帖、大令中秋帖，皆希世之珍。今又得王珣此幅，繭紙家风，信堪並美！幾余清赏，亦臨池一助也。御識。”钤“乾隆宸翰”、“涵虛朗鑒”二玺。\n前隔水御书：“家學世範，草聖有傳。宣和書譜”12字。下有：“乾隆宸翰”、“幾暇臨池”、“耽書是宿缘”三玺。\n又御识：“乾隆丙寅春月，獲王珣此帖，遂與快雪中秋二迹並藏養心殿溫室中，顔曰三希堂，御筆。又識”，钤“乾”、“隆”二玺。\n后隔水上有明董其昌跋，后有乾隆御笔绘枯枝文石，并识：“王珣帖與其昌跋皆可寶玩，即裝池側理亦光潤堪愛，漫制枯枝文石以配之。乾隆丙寅春正，長春書屋御識”，钤“几暇怡情”一玺。后有“墨云”一玺。\n卷尾敕董邦达绘图，邦达有记，又有沈德潜书“三希堂歌”。\n卷后有董其昌、王肯堂题记。\n此帖与陆机《平复帖》为现今仅存的两件晋代名人法书。\n王羲之作为“书圣”，垂范百代。但他的书作只以临本、摹本和刻本的形式流传，没有一件真迹传世。王氏家族世代擅书，名家辈出，然其作品命运亦大抵相同。唯羲之族侄王珣有此短笺留在人间，实在是不幸中的大幸。我们可以从中窥见“二王”行草书使转用笔的精微之处，这是刻帖和双勾填墨摹本所无法传达的。\n王珣本人有书名，此帖风神俊朗，潇洒流利，在王氏家族书风的基础上自具面目，在中国书法史上具有崇高的地位。\n王珣《伯远帖》自乾隆十一年（1746年）进入内府，经乾隆品题，与王羲之《快雪时晴帖》、王献之《中秋帖》并藏在养心殿西暖阁内的尽间，乾隆御书匾额“三希堂”。 乾隆十二年又精选内府所藏魏晋唐宋元明书家134家真迹，包括三希在内，摹勒上石，命名《三希堂法帖》。在西苑的北海建“阅古楼”，把上述刻石嵌在楼内墙上，拓本流传以示临池之模范。三希原件仍藏在养心殿三希堂。\n1911年以后至1924年溥仪出宫以前，《伯远帖》、《中秋帖》曾藏在敬懿皇贵妃所居的寿康宫，溥仪出宫之时，敬懿皇贵妃将此帖带出宫，后流散在外。1951 年周恩来总理指示将《伯远帖》、《中秋帖》从香港购回，交故宫博物院收藏。\n《宣和书谱》、《画禅室随笔》、《书画记》、《平生壮观》、《墨缘汇观》、《式古堂书画汇考》、《佩文斋书画谱》、《石渠宝笈·初编》、《古书画过眼要录》等书著录。",[7,209,23,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246f88fa2111a0004e79f669a9b961c0.jpg","纵25.1cm，横17.2cm",[2097],{"id":13698,"slug":13699,"title":13700,"dynasty":99,"author":2494,"museum":20,"description":13701,"tags":13702,"thumbUrl":13703,"material":67,"size":13704,"collection":181,"collections":13705,"showCount":13602,"zanCount":1337,"manualWeight":48,"mainColor":94},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[7,23,24,173,177,178,263,225,29,34,108,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[181,163],{"id":13707,"slug":13708,"title":13709,"dynasty":189,"author":13710,"museum":222,"description":13711,"tags":13712,"thumbUrl":13713,"material":327,"size":13714,"collection":44,"collections":13715,"showCount":13602,"zanCount":2209,"manualWeight":48,"mainColor":49},220366,"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[7,209,23,24,25,244,173,106,285,2508,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","24.8X240.3",[44,163],{"id":13717,"slug":13718,"title":13719,"dynasty":189,"author":13201,"museum":8534,"description":13720,"tags":13721,"thumbUrl":13722,"material":409,"size":13723,"collection":90,"collections":13724,"showCount":13602,"zanCount":48,"manualWeight":48,"mainColor":94},220322,"wan-jie-tu-gu-an-220322","晚节图","此作以墨写竹，竿干劲挺修长，节痕匀整，藏坚韧不屈之态。竹叶以浓淡墨笔撇捺挥写，错落层叠、顾盼生姿，尽显萧疏散朗之致，将竹的清灵秀逸全然托出。\n\n画作以竹明志，借凌霜不凋的修竹暗合持守晚节的君子襟怀，把文人画托物言志的意趣融于笔墨间。笔致洗练老辣，墨色层次分明，简淡素净的纸色衬出墨竹清韵，通篇空灵雅致，满卷皆溢清刚雅正的高古之气，是墨竹画中形神兼备的佳构。",[7,23,24,173,225,226,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1bd0ec0a82b701fca3fa1e53d0bce.jpg","113.7x33.2厘米",[90],{"id":13726,"slug":13727,"title":13728,"dynasty":18,"author":2483,"museum":206,"description":13729,"tags":13730,"thumbUrl":13731,"material":123,"size":13732,"collection":181,"collections":13733,"showCount":13602,"zanCount":1314,"manualWeight":48,"mainColor":49},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[7,209,23,24,25,26,27,106,29,28,176,31,34,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[181],{"id":13735,"slug":13736,"title":13737,"dynasty":18,"author":13738,"museum":1406,"description":13739,"tags":13740,"thumbUrl":13741,"material":123,"size":13742,"collection":44,"collections":13743,"showCount":13602,"zanCount":1314,"manualWeight":48,"mainColor":94},215008,"xie-shen-lao-jun-bian-hua-shi-shi-tu-wang-li-yong-215008","写神老君变化十式图","王利用","道教以老子为祖先，赋予这位先秦哲人以神秘而神圣的光芒，赋予他自己神奇的力量。在这幅画中，老子被分段描绘在横幅上，从天地初开到殷商时期，老子化身为顾主、金阙皇帝、玉华子、大成子、广寿子、广成子、镇星子、解颐子、牟成子、川桓子等真实人格。宋朝皇帝提倡道教，所以这类题材的绘画很受欢迎。",[7,209,23,24,25,28,27,243,106,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474edbfbed198eb48c688584feee12ec.jpg","44.8x188.4",[44],{"id":13745,"slug":13746,"title":12184,"dynasty":99,"author":1362,"museum":206,"description":13747,"tags":13748,"thumbUrl":13749,"material":409,"size":13750,"collection":328,"collections":13751,"showCount":13602,"zanCount":48,"manualWeight":48,"mainColor":94},214255,"qi-yan-lv-shi-wen-zheng-ming-214255","文徵明的书法主要以王羲之和王献之为基础，而大字则以黄庭坚为典范。目前的数字是3.43厘米长，人物是25厘米高。它是文征明罕见的大型书法作品之一。笔法潇洒，变化多端，朴实无华，反映了他书法的深度。",[7,86,178,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5c12fd1f21871075eee4013641478b.jpg","343.8x99.5",[328],{"id":13753,"slug":13754,"title":13755,"dynasty":18,"author":418,"museum":311,"description":13756,"tags":13757,"thumbUrl":13760,"material":2164,"size":2165,"collection":139,"collections":13761,"showCount":13762,"zanCount":1337,"manualWeight":48,"mainColor":94},289742,"run-zhong-qiu-yue-zhao-ji-289742","闰中秋月","该书法帖是故宫博物院所藏赵佶的“瘦金体”《闰中秋月帖》。作品笔画细瘦如“筋”，舒展飘逸，却挺拔有力，气韵生动且不失腴润，更不显稚弱之气，有浓郁的书卷气息。\n赵佶的书法，早年学薛稷、黄庭坚，后又参合褚遂良诸家，出以挺瘦秀润，又变化“二薛”（薛稷、薛曜），形成自己的独特风格。观赏作品，可发现，其线条瘦直挺拔，横画收笔带钩，竖画收笔带点，撇如匕首，捺如切刀，竖钩细长，有些连笔字像游丝行空，已近行书。其用笔源于褚、薛，只是写得更瘦劲；结体笔势取黄庭坚大字楷书，舒展劲挺。这种书体从美学的角度讲：丽美之气袭人，婀娜多姿。在古代皇权集中制的时代，一般的情况下，肃穆、庄重、典雅和大气是皇家风格的主要特征。但是，历史似乎在动荡的宋朝发生了非规律性的扭动，从而造成了皇权和皇家审美标准的大逆转。赵佶荒废朝政、一心沉溺于书画艺术这一事实，推动了他艺术天分的表露和宣泄。而他的美学标准也随着扭动的历史现实化而变得大背传统，形成独特的一种艺术风格。这可能就是宋徽宗“瘦金体”书法形成的历史渊源吧！但是，优秀的艺术流派是以它优秀的艺术价值流传的，艺术的光芒不会因创造者某一方面的缺失而受到因影响。赵佶的“瘦金书”墨迹，优雅之气与瑰丽之气并重，正如岳珂在《宝真斋法书赞》称赞他的书法所言：“金缕之妙，细比毫发，殆与神工鬼能，较奇逞并于秋毫间。”",[7,86,621,263,285,13758,13759],"中秋","诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26596379d9428c2728071db884a953e4.jpg",[],103,{"id":13764,"slug":13765,"title":8383,"dynasty":204,"author":7615,"museum":311,"description":8384,"tags":13766,"thumbUrl":13767,"material":2164,"size":2165,"collection":139,"collections":13768,"showCount":13762,"zanCount":2209,"manualWeight":48,"mainColor":49},283688,"qiu-shan-wan-cui-tu-guan-tong-283688",[7,209,23,24,225,173,27,29,5727,176,34,557,466,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],{"id":13770,"slug":13771,"title":13772,"dynasty":277,"author":13773,"museum":311,"description":13774,"tags":13775,"thumbUrl":13776,"material":2164,"size":2165,"collection":139,"collections":13777,"showCount":13762,"zanCount":2209,"manualWeight":48,"mainColor":49},230653,"fo-tuo-xiang-li-zhou-xi-zang-tang-ka-230653","佛陀像立轴","西藏唐卡","西藏唐卡是用彩缎装饰成的一种卷轴画，多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡，历来被人们视为珍宝。\n西藏唐卡是用彩缎装饰成的一种卷轴画，具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，历来被人们视为珍宝。唐卡的质地是多种多样的。多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡。西藏唐卡的主要内容是反映宗教这一主题，作为宗教文化，唐卡是前人留下来的历史遗产，是研究古代绘画艺术的宝贵资料。",[7,225,243,27,106,245,84,3861,8033,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840c96ea911ffbfafc10c83a61d794ef.jpg",[],{"id":13779,"slug":13780,"title":13781,"dynasty":189,"author":1988,"museum":206,"description":13782,"tags":13783,"thumbUrl":13784,"material":327,"size":13785,"collection":139,"collections":13786,"showCount":13762,"zanCount":2209,"manualWeight":48,"mainColor":49},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[7,23,24,225,173,1712,866,229,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","151.4x52.2",[],{"id":13788,"slug":13789,"title":13790,"dynasty":76,"author":3676,"museum":311,"description":4387,"tags":13791,"thumbUrl":13792,"material":1411,"size":139,"collection":45,"collections":13793,"showCount":13762,"zanCount":48,"manualWeight":48,"mainColor":94},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花",[7,23,24,225,27,173,83,407,229,263,86,1163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg",[45],{"id":13795,"slug":13796,"title":13797,"dynasty":76,"author":3223,"museum":583,"description":3224,"tags":13798,"thumbUrl":13799,"material":67,"size":3228,"collection":139,"collections":13800,"showCount":13762,"zanCount":1314,"manualWeight":48,"mainColor":94},222683,"si-ji-hua-niao-tu-ping-6-chen-mei-222683","四季花鸟图屏6",[7,23,28,27,83,404,370,229,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78822ac937e1da347d3173f152b03859.jpg",[],{"id":13802,"slug":13803,"title":13804,"dynasty":18,"author":1419,"museum":20,"description":6704,"tags":13805,"thumbUrl":13806,"material":67,"size":13807,"collection":42,"collections":13808,"showCount":13762,"zanCount":2209,"manualWeight":48,"mainColor":49},221516,"kong-qiu-xiang-tu-ye-ma-yuan-221516","孔丘像图页",[7,23,24,81,106,244,27,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140533cc0f37b2814b2ddd30cf0df06f.jpg","27.7x23.2",[42,44,45],{"id":13810,"slug":13811,"title":13812,"dynasty":18,"author":461,"museum":206,"description":13813,"tags":13814,"thumbUrl":13815,"material":67,"size":13816,"collection":42,"collections":13817,"showCount":13762,"zanCount":48,"manualWeight":48,"mainColor":49},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[7,209,23,24,225,177,173,29,5613,1080,558,468,34,1220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[42,181,163],{"id":13819,"slug":13820,"title":13821,"dynasty":189,"author":1442,"museum":101,"description":13822,"tags":13823,"thumbUrl":13824,"material":67,"size":13825,"collection":181,"collections":13826,"showCount":13762,"zanCount":48,"manualWeight":48,"mainColor":94},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[7,23,24,225,173,1218,177,865,866,229,29,1265,6868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[181,163],{"id":13828,"slug":13829,"title":13830,"dynasty":18,"author":13831,"museum":206,"description":13832,"tags":13833,"thumbUrl":13835,"material":123,"size":13836,"collection":42,"collections":13837,"showCount":13762,"zanCount":48,"manualWeight":48,"mainColor":49},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[7,209,23,24,25,27,28,29,108,109,151,34,6870,13834,266,175],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[42,181],{"id":13839,"slug":13840,"title":13841,"dynasty":99,"author":170,"museum":1250,"description":1251,"tags":13842,"thumbUrl":13843,"material":699,"size":1255,"collection":139,"collections":13844,"showCount":13762,"zanCount":2209,"manualWeight":48,"mainColor":94},220062,"hu-qiu-shi-er-jing-tu-ce-5-shen-zhou-220062","虎丘十二景图册-5",[7,23,24,81,173,29,106,175,226,107,1871,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b98caed8ba3c7e8188c4fa105bf846.jpg",[],{"id":13846,"slug":13847,"title":13848,"dynasty":99,"author":6950,"museum":11776,"description":13849,"tags":13850,"thumbUrl":13852,"material":123,"size":13853,"collection":90,"collections":13854,"showCount":13762,"zanCount":2209,"manualWeight":48,"mainColor":49},219115,"zao-chun-hua-qin-tu-yin-hong-219115","早春花禽图","枯枝盘曲如铁，山茶吐艳似燃，几枝早梅缀着淡粉花苞，悄然泄露春讯。禽鸟或栖于岩畔顾盼，或立于枝间啁啾，翅羽纹理细如毫发，喙爪色泽鲜妍如生。地面鹌鹑缩颈梳羽，与岩上对视双鸟相映成趣，动静之间满是早春的慵懒与生机。设色温润雅致，墨骨与彩晕交融，既见工笔细腻，又含写意灵动。整幅画如无声春曲，将料峭时节的萌动鲜活凝于绢素，观者仿佛能嗅到微香、听见轻啼，尽览自然生机的悄然苏醒。",[7,23,24,28,27,83,176,109,84,1628,34,13851],"早春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569747867dc70978b50213d39ad4728a.jpg","纵168.7cm横102.7cm",[90],{"id":13856,"slug":13857,"title":13858,"dynasty":18,"author":418,"museum":206,"description":13859,"tags":13860,"thumbUrl":13861,"material":409,"size":13862,"collection":42,"collections":13863,"showCount":13762,"zanCount":48,"manualWeight":48,"mainColor":49},218788,"hua-ying-tu-zhao-ji-218788","画鹰图","该图描绘了一只雄鹰威风凛凛地站在一棵枯树的树干上，在孔武有力的鹰嘴帮助下，仰头梳理自己的羽毛。",[7,23,24,28,173,83,4451,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff856060d6a30964688536f3e2943de33.jpg","88.8x43",[42],{"id":13865,"slug":13866,"title":13867,"dynasty":189,"author":9788,"museum":78,"description":13868,"tags":13869,"thumbUrl":13870,"material":409,"size":13871,"collection":90,"collections":13872,"showCount":13762,"zanCount":48,"manualWeight":48,"mainColor":94},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[7,23,209,24,225,173,28,263,226,385,266,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 厘米，横59.4 厘米",[90],{"id":13874,"slug":13875,"title":12110,"dynasty":18,"author":13876,"museum":486,"description":13877,"tags":13878,"thumbUrl":13879,"material":123,"size":13880,"collection":42,"collections":13881,"showCount":13762,"zanCount":1337,"manualWeight":48,"mainColor":94},218561,"chi-bi-tu-yang-shi-xian-218561","杨士贤","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[7,23,24,25,173,27,177,29,174,285,3019,9575,34,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[42,181],{"id":13883,"slug":13884,"title":13885,"dynasty":949,"author":950,"museum":20,"description":13886,"tags":13887,"thumbUrl":13889,"material":88,"size":13890,"collection":90,"collections":13891,"showCount":13762,"zanCount":2209,"manualWeight":48,"mainColor":94},216936,"zhu-qin-tu-ping-qi-bai-shi-216936","竹禽图屏","篆笔古拙沉厚，墨痕间似淌商周遗韵，线条凝练如铸金石。下方禽鸟羽色简淡却神完气足，喙微张欲鸣，爪踏竹篮边缘，憨态可掬。竹篮以寥寥数笔勾廓，经纬交错处见质朴野趣。旁题书法笔势洒脱，墨色浓淡相宜，与禽鸟的鲜活、竹篮的拙朴相映成趣。整幅书画相融，于简淡中藏盎然生机，质朴里蕴文人雅逸，将日常小景化为耐人寻味的意趣，尽显笔墨与生活的交融之妙。",[7,23,173,27,1163,178,263,400,370,13888,86],"竹编器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0b158a23761978220ebb961394c51.jpg","36.5x33.2cm",[90],{"id":13893,"slug":13894,"title":13895,"dynasty":18,"author":13896,"museum":486,"description":13897,"tags":13898,"thumbUrl":13900,"material":123,"size":13901,"collection":44,"collections":13902,"showCount":13762,"zanCount":2209,"manualWeight":48,"mainColor":94},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[7,209,23,24,25,27,28,177,106,29,34,6384,13899,86,1163,621,63,263],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[44],{"id":13904,"slug":13905,"title":13906,"dynasty":99,"author":2146,"museum":311,"description":8622,"tags":13907,"thumbUrl":13908,"material":2164,"size":2165,"collection":139,"collections":13909,"showCount":13910,"zanCount":1337,"manualWeight":48,"mainColor":94},288079,"shi-liu-zhi-tu-zhou-tang-yin-288079","石榴枝图轴",[7,23,225,83,27,1153,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f63c78923d96b6e2af743b41cfd6d6.jpg",[],102,{"id":13912,"slug":13913,"title":13914,"dynasty":76,"author":1047,"museum":311,"description":13915,"tags":13916,"thumbUrl":13917,"material":139,"size":139,"collection":139,"collections":13918,"showCount":13910,"zanCount":48,"manualWeight":48,"mainColor":49},231002,"song-shi-mu-dan-zhu-da-231002","松石牡丹","苍松顶天立地，老干皴朴嶙峋，松针如戟排布，笔意极简却自带虬劲孤傲之势。玲珑湖石以泼墨晕染，虚实间尽显奇崛冷逸。柔婉牡丹隐于松石缝隙，淡粉轻敷，娇柔花姿与枯硬松石形成强烈反差，艳而不俗，静吐幽芳。\n\n整幅画作以寥寥笔墨勾勒冷寂孤高的格调，将沉郁心境寄于物象，于简淡笔触中藏着磅礴生命张力，把物我合一的禅意融于松石花影之间，静穆里带着疏旷风骨，尽显冷逸疏朗的独特意趣，寥寥数笔便写尽出世孤高的襟怀。",[7,209,23,24,225,173,27,400,403,385,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec2733997ab825ea604ee9dbe4626d.jpg",[],{"id":13920,"slug":13921,"title":13922,"dynasty":76,"author":10054,"museum":311,"description":13923,"tags":13924,"thumbUrl":13925,"material":139,"size":139,"collection":139,"collections":13926,"showCount":13910,"zanCount":2209,"manualWeight":48,"mainColor":94},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[7,209,23,24,25,27,28,29,106,108,109,175,264,178,263,34,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],{"id":13928,"slug":13929,"title":13930,"dynasty":76,"author":3676,"museum":311,"description":4387,"tags":13931,"thumbUrl":13932,"material":699,"size":13933,"collection":90,"collections":13934,"showCount":13910,"zanCount":2209,"manualWeight":48,"mainColor":94},224227,"nong-yan-zhuo-zhuo-yun-jin-xian-li-zhou-wu-chang-shuo-224227","秾艳灼灼云锦鲜立轴",[7,23,24,225,27,83,229,264,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9cf103a50a6f03f9f5e08b4a20601c.jpg","93x45cm",[90,45],{"id":13936,"slug":13937,"title":13938,"dynasty":76,"author":1563,"museum":311,"description":13939,"tags":13940,"thumbUrl":13941,"material":139,"size":139,"collection":139,"collections":13942,"showCount":13910,"zanCount":2209,"manualWeight":48,"mainColor":94},224178,"mu-dan-zhu-shi-tu-hua-yan-224178","牡丹竹石图","此作淡素底色铺陈，花卉、湖石与秀竹错落排布，虚实相生。冰蓝牡丹以没骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[7,23,24,225,27,28,173,369,226,229,83,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":13944,"slug":13945,"title":13946,"dynasty":99,"author":2494,"museum":1666,"description":13947,"tags":13948,"thumbUrl":13949,"material":699,"size":13950,"collection":328,"collections":13951,"showCount":13910,"zanCount":48,"manualWeight":48,"mainColor":94},220964,"shu-luo-han-zan-shu-juan-dong-qi-chang-220964","书罗汉赞书卷","包括：《罗汉赞》二首、《初祖赞》、《送僧游五台》、《送僧之牛山鸡足》。一如董氏清秀平和的书风，前半部分行中带草，结体森然，运笔精到，不争不躁，布局闲适，自然天成。与《菩萨藏经后序》相较，折笔较多，显得更挺拔硬朗。后半部分草书，运笔飞动流畅，挥洒自如，如龙蛇云物。然而，又不颠不狂，始终保持正锋，不失圆劲之妙。",[7,86,2570,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ffe99ce6fd3374ae447318421bed5.jpg","纵31.1厘米，横631.3 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南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[7,23,24,25,173,177,86,263,29,2279,734,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[42,328],{"id":14006,"slug":14007,"title":14008,"dynasty":18,"author":278,"museum":206,"description":14009,"tags":14010,"thumbUrl":14011,"material":123,"size":14012,"collection":44,"collections":14013,"showCount":13910,"zanCount":1104,"manualWeight":48,"mainColor":49},218392,"hua-ping-ren-wu-tu-yi-ming-218392","画屏人物图","画面铺展宋代文人闲居的日常图景。端坐的雅士衣袂宽博，神情淡然，侧立侍从执壶倾注，似将茶汤温煦融入此刻静谧。背景画屏叠映山水与人物，虚实相生间，把室内清居与屏中丘壑连为一体，更添雅致意趣。案上茶器莹润，架上典籍罗列，瓶中花枝疏朗，每一处陈设皆藏宋人的审美格调——不刻意雕琢，却见处处用心。古朴绢色晕染时光质感，细腻线条勾勒人物从容，仿佛能听见茶烟轻散时的喟叹，窥见那个时代文人内心的澄澈与自在。这帧小景，恰是宋代文人精神世界的生动缩影，于细微处见天地。",[7,23,24,27,28,106,228,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acb38e674bcaf962f75e9151169ea4e.jpg","29x27.8",[44],{"id":14015,"slug":14016,"title":4215,"dynasty":18,"author":1699,"museum":206,"description":14017,"tags":14018,"thumbUrl":14019,"material":699,"size":10758,"collection":139,"collections":14020,"showCount":14021,"zanCount":2209,"manualWeight":48,"mainColor":49},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[7,23,24,25,28,27,177,106,29,108,109,384,4272,1365,283,175,210,1640,9194,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg",[],101,{"id":14023,"slug":14024,"title":1238,"dynasty":18,"author":278,"museum":311,"description":14025,"tags":14026,"thumbUrl":14027,"material":139,"size":139,"collection":139,"collections":14028,"showCount":14021,"zanCount":48,"manualWeight":48,"mainColor":94},227896,"mu-dan-tu-yi-ming-227896","此作以工笔设色绘就，将牡丹的雍容之态尽显绢上。重瓣花头饱满蓬松，紫艳花瓣层层叠叠，以色晕染出瓣面明暗渐变，从瓣根的深紫过渡至瓣尖的柔粉，将花瓣舒展翻卷的柔媚质感描摹入微，把牡丹的华贵风韵定格。嫩绿的萼片与枝叶作为映衬，线条细劲灵动，勾勒出叶片舒展的姿态，浅绿设色柔而清透，与花的浓艳形成冷暖呼应，愈衬花头妍丽不俗。\n\n整幅构图紧凑却不显拥塞，团扇形制里氤氲着雅致静谧的氛围，尽显内敛的审美意趣，将国色天香的雅致风骨凝于尺幅之间。",[7,209,23,24,1352,27,28,83,369,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e83d9bc1bd1f8aa4ab7a2bddd7fdce5.jpg",[],{"id":14030,"slug":14031,"title":14032,"dynasty":76,"author":4406,"museum":206,"description":14033,"tags":14034,"thumbUrl":14035,"material":123,"size":14036,"collection":181,"collections":14037,"showCount":14021,"zanCount":1337,"manualWeight":48,"mainColor":94},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[7,23,209,24,225,27,26,29,107,108,109,466,557,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[181],{"id":14039,"slug":14040,"title":14041,"dynasty":76,"author":336,"museum":206,"description":10745,"tags":14042,"thumbUrl":14044,"material":573,"size":10749,"collection":181,"collections":14045,"showCount":14021,"zanCount":2209,"manualWeight":48,"mainColor":255},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）",[7,23,24,225,28,27,104,106,107,29,149,34,109,108,1087,176,386,14043],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg",[181,45],{"id":14047,"slug":14048,"title":14049,"dynasty":76,"author":5585,"museum":222,"description":7548,"tags":14050,"thumbUrl":14051,"material":1271,"size":14052,"collection":139,"collections":14053,"showCount":14021,"zanCount":2209,"manualWeight":48,"mainColor":94},222641,"mei-hua-mu-dan-tu-juan-gao-feng-han-222641","梅花牡丹图卷",[7,23,24,25,173,402,369,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018ad4bbb383c682e4f97451d7834b0c.jpg","20×317cm",[],{"id":14055,"slug":14056,"title":14057,"dynasty":99,"author":100,"museum":20,"description":1762,"tags":14058,"thumbUrl":14064,"material":40,"size":1766,"collection":139,"collections":14065,"showCount":14021,"zanCount":48,"manualWeight":48,"mainColor":49},222195,"ren-wu-gu-shi-tu-gao-shan-liu-shui-chou-ying-222195","人物故事图-高山流水",[7,23,4850,14059,27,14060,1080,5633,109,175,34,1112,14061,14062,14063],"工笔重彩","高山","知音","高山流水","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67ca6c35996e488c7d2585cfe17e4a3.jpg",[],{"id":14067,"slug":14068,"title":14069,"dynasty":204,"author":14070,"museum":20,"description":14071,"tags":14072,"thumbUrl":14073,"material":14074,"size":14075,"collection":44,"collections":14076,"showCount":14021,"zanCount":1337,"manualWeight":48,"mainColor":49},221162,"shi-liu-luo-han-xiang-fa-du-luo-fu-duo-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221162","十六罗汉像-伐闍羅弗多羅尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[7,23,24,27,28,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横：45.9厘米",[328],{"id":14122,"slug":14123,"title":14124,"dynasty":76,"author":381,"museum":583,"description":14125,"tags":14126,"thumbUrl":14127,"material":123,"size":14128,"collection":90,"collections":14129,"showCount":14021,"zanCount":2209,"manualWeight":48,"mainColor":49},219129,"shou-tian-bai-lu-tu-shen-quan-219129","受天百禄图","这是一幅“玩谐音梗”的作品：梅花鹿的“鹿”谐音为“禄”，松柏谐音为“百”，“鹿”和“百”同时出现在一幅画上时，画面内容就不仅仅是“梅花鹿和柏树”了，而变成了富有“百（柏）世荣禄（鹿）”这样子吉祥寓意的祥瑞之图了。试问谁收到这样一幅承载了满满祝福的美图不会开心到起飞呢～\n这幅作品以工笔细描的手法将鹿、柏描绘得非常精细。鹿身比例较为协调，体格健硕；鹿身上的绒毛非常细密，双目圆睁，神采奕奕。画的下方角落里还有潺潺流水，水波粼粼，浪花细密。水边野花三三两两，错落有致，作者将星星点点的花蕊也绘制得十分细腻。",[7,23,24,225,27,28,808,4778,1365,176,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e758b63a73d9571d6bba802a1c5942.jpg","纵199厘米，横97.5厘米",[90],{"id":14131,"slug":14132,"title":14133,"dynasty":18,"author":1419,"museum":4827,"description":14134,"tags":14135,"thumbUrl":14136,"material":123,"size":14137,"collection":44,"collections":14138,"showCount":14021,"zanCount":1337,"manualWeight":48,"mainColor":629},218833,"mu-tong-tu-ma-yuan-218833","牧童图","老牛角弯似新月，驮着披蓑牧童缓行，身后小牛甩尾蹑踪，蹄印在软泥上拓出浅浅纹路。虬枝垂叶筛下碎金，落在牛背与牧童发梢。牧童半倚牛颈，或眯眼听风，或逗弄草茎，全然不觉时光轻淌。笔墨简淡却藏烟火气，江南田埂的闲逸凝于绢素皴擦间——无喧嚣，唯牛鸣与风声，是宋时寻常田园，亦是最动人的归心处。\n\n（注：文案以画面细节为引，用比喻与动态描写交织，将田园闲逸具象化，贴合宋画“以小见大”的意境，语言凝练且富有画面感，适配展览介绍场景。）",[7,23,24,27,28,106,151,866,808,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce337b6d511acdc8cad7304f75a2012e.jpg","22.1x24.2cm",[44],{"id":14140,"slug":14141,"title":14142,"dynasty":18,"author":278,"museum":486,"description":14143,"tags":14144,"thumbUrl":14145,"material":123,"size":14146,"collection":42,"collections":14147,"showCount":14021,"zanCount":1337,"manualWeight":48,"mainColor":49},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[7,23,24,25,27,28,86,106,29,175,108,109,174,34,107,4420,1115,1116,4421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6",[42],{"id":14149,"slug":14150,"title":14151,"dynasty":189,"author":13039,"museum":101,"description":14152,"tags":14153,"thumbUrl":14155,"material":123,"size":139,"collection":181,"collections":14156,"showCount":14021,"zanCount":1104,"manualWeight":48,"mainColor":49},214843,"gu-he-heng-jiang-tu-zhao-yong-214843","孤鹤横江图",""孤鹤横江图" 是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[7,23,24,29,1352,173,27,1365,176,6868,174,106,557,4012,14154],"孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg",[181],{"id":14158,"slug":14159,"title":14160,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":14161,"thumbUrl":14162,"material":699,"size":1567,"collection":139,"collections":14163,"showCount":14021,"zanCount":1337,"manualWeight":48,"mainColor":49},214351,"san-jue-shan-shui-ce-9-hua-yan-214351","三绝山水册-9",[7,23,27,29,81,177,176,34,466,1267,4969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aac573368897f7bf21b023fae6ca30c.jpg",[],{"id":14165,"slug":14166,"title":14167,"dynasty":99,"author":170,"museum":311,"description":14168,"tags":14169,"thumbUrl":14170,"material":2164,"size":2165,"collection":139,"collections":14171,"showCount":14172,"zanCount":1337,"manualWeight":48,"mainColor":94},228824,"san-zi-tu-shen-zhou-228824","三梓图","此图绘梓树三棵，树下二高士漫步对谈，三树排列得当，用笔浑然无迹，人物几笔勾勒，极显“粗沈”之功力。",[7,23,24,225,173,177,178,263,106,866,266,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50afdc956c6c0467cbc2cece7598519d.jpg",[],100,{"id":14174,"slug":14175,"title":14176,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":14177,"thumbUrl":14179,"material":27,"size":1608,"collection":139,"collections":14180,"showCount":14172,"zanCount":48,"manualWeight":48,"mainColor":94},222752,"xian-e-chang-chun-tu-07b-lang-shi-ning-222752","仙萼长春图-07b",[7,209,23,24,81,27,28,83,266,12751,2597,14178],"稷穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d348e9e77d0b308e8a29479ec471bb0.jpg",[],{"id":14182,"slug":14183,"title":14184,"dynasty":99,"author":817,"museum":206,"description":14185,"tags":14186,"thumbUrl":14187,"material":67,"size":14188,"collection":181,"collections":14189,"showCount":14172,"zanCount":1314,"manualWeight":48,"mainColor":49},221974,"gu-mu-han-quan-tu-zhou-wen-zheng-ming-221974","古木寒泉图轴","一松一柏，相旁而生。柏树老干分披，杈枒四出；其后松树两干并伸，参云直上。背景石壁与松柏紧贴，塞地漫天，几无余地，忽于绝高处界出飞泉一道，数折而下，遂使通幅于紧迫繁复之中，遽尔空灵疏朗，确为神来之笔。",[7,23,225,173,27,177,29,866,109,176,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84d499504792f62282c466eaa4ed0af.jpg","194.1x59.3cm",[181,45],{"id":14191,"slug":14192,"title":14193,"dynasty":18,"author":708,"museum":101,"description":14194,"tags":14195,"thumbUrl":14196,"material":4130,"size":14197,"collection":42,"collections":14198,"showCount":14172,"zanCount":48,"manualWeight":48,"mainColor":49},221659,"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[7,23,24,173,29,109,174,1542,867,866,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","23.2x23.8厘米",[42,181,45],{"id":14200,"slug":14201,"title":7731,"dynasty":18,"author":1419,"museum":101,"description":14202,"tags":14203,"thumbUrl":14204,"material":573,"size":14205,"collection":42,"collections":14206,"showCount":14172,"zanCount":2209,"manualWeight":48,"mainColor":94},221537,"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[7,23,24,1352,29,173,177,466,384,176,106,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","30×30cm",[42,181,45],{"id":14208,"slug":14209,"title":14210,"dynasty":18,"author":11975,"museum":206,"description":14211,"tags":14212,"thumbUrl":14214,"material":14215,"size":14216,"collection":42,"collections":14217,"showCount":14172,"zanCount":1337,"manualWeight":48,"mainColor":94},221240,"song-ke-si-qun-xian-gong-shou-tu-zhou-song-ren-221240","宋缂丝群仙拱寿图轴","素地设色织。寿星骑鹤从天而来，八仙拱手翘首观望。\n画面极小，但织工细微精致，人物构图愈小愈难制作，但此幅却不受这样的限制，虽然人物全挤在小小的空间中，但无论是动作、神态都十分写实自然，尤其以八仙的面部表情最为生动，将八人不同的特性表露无遗，尤其须眉等处都用针法勾线，更增添几分写实活泼的面貌。",[7,2127,225,27,106,13899,263,243,14213],"丝织工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf97f2b70cc41bd7d15d665e12e812cc.jpg","图轴，绢本","纵：41.3 厘米，横：23.8 厘米",[42,44,45],{"id":14219,"slug":14220,"title":14221,"dynasty":949,"author":3807,"museum":3808,"description":14222,"tags":14223,"thumbUrl":14231,"material":14232,"size":139,"collection":139,"collections":14233,"showCount":14172,"zanCount":2209,"manualWeight":48,"mainColor":94},220576,"tian-heng-wu-bai-shi-xu-bei-hong-220576","田横五百士","画面左侧义士们悲愤难抑，有人按剑瞋目，有人振臂呼号，粗粝的赤足、紧绷的筋骨满溢着不甘的血性。右侧红衣者垂眸拱手，将诀别的沉毅藏在眉眼间，身侧白马静立，更衬出离别的肃穆沉哀。\n\n以写实技法刻绘人物神态，将东方侠义风骨织入油彩，定格下这诀别时刻的慷慨悲歌。垂首掩泣的老者、攥紧衣衫的壮士，细节里揉进了赴死壮怀与俗世温情，让忠义千秋的底色变得滚烫又厚重，把这群义士的刚烈柔肠永远封存在画布之上。",[7,4419,8725,14224,150,34,14225,8729,14226,14227,2220,14228,14229,14230,3318,300],"人物群像","天空","剑","长袍","男性人物","动态刻画","色彩写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4dedb8317bb1c81c3a2b5e8029cfbe1.jpg","布面油彩",[],{"id":14235,"slug":14236,"title":14237,"dynasty":99,"author":278,"museum":222,"description":14238,"tags":14239,"thumbUrl":14240,"material":27,"size":139,"collection":44,"collections":14241,"showCount":14172,"zanCount":48,"manualWeight":48,"mainColor":49},219244,"zeng-zhang-tian-wang-xiang-yi-ming-219244","增长天王像","青面怒目，须髯戟张，增长天王的威严扑面而来。铠甲错金缀彩，纹饰繁复如锦，每一处云纹、兽首皆精雕细琢，尽显庄重华贵。手中长剑横陈，寒光隐现，似欲斩断世间烦恼；身侧旌旗飘曳，彩带翻飞，裹挟着风雷之势。周围护法形象各异，或嗔目咆哮，或持械拱卫，动静之间，张力十足。色彩沉厚而不失明艳，线条刚劲又含灵动，将护法神祇的勇猛与神圣刻画得入木三分，仿佛能感受到那份震慑邪魔、守护正法的磅礴力量。整幅画作既保留了宗教造像的庄严法度，又以细腻笔触赋予形象鲜活生命力，尽显传统绘画的精湛技艺与精神内涵。",[7,23,28,27,8035,243,106,2508,245,436,939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d8acda20c1ab0fd65a2786e1df0fa2.jpg",[44],{"id":14243,"slug":14244,"title":14245,"dynasty":18,"author":14246,"museum":206,"description":14247,"tags":14248,"thumbUrl":14255,"material":123,"size":14256,"collection":90,"collections":14257,"showCount":14172,"zanCount":2209,"manualWeight":48,"mainColor":94},219202,"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","马世荣","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[7,23,1352,27,28,808,8335,4778,558,34,176,14249,14250,11401,14251,14252,14253,14254],"宋代绘画","花鸟兽类","自然景物","山石景观","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","26.6x26.6cm",[90,42],{"id":14259,"slug":14260,"title":11941,"dynasty":76,"author":6172,"museum":222,"description":14261,"tags":14262,"thumbUrl":14263,"material":123,"size":14264,"collection":181,"collections":14265,"showCount":14172,"zanCount":1337,"manualWeight":48,"mainColor":49},219094,"shu-zhan-xing-lv-tu-yuan-yao-219094","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[7,23,24,27,29,177,104,557,475,106,150,34,37,1422,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[181],{"id":14267,"slug":14268,"title":14269,"dynasty":18,"author":2039,"museum":206,"description":14270,"tags":14271,"thumbUrl":14273,"material":123,"size":14274,"collection":42,"collections":14275,"showCount":14172,"zanCount":48,"manualWeight":48,"mainColor":49},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[7,209,23,1352,104,27,106,107,14272,109,1322,115],"廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[42],{"id":14277,"slug":14278,"title":14279,"dynasty":18,"author":9978,"museum":206,"description":14280,"tags":14281,"thumbUrl":14283,"material":123,"size":14284,"collection":42,"collections":14285,"showCount":14172,"zanCount":48,"manualWeight":48,"mainColor":49},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[7,23,24,1352,173,29,28,14282,2607,175,33,282,1265,1231,384,106],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[42,181],{"id":14287,"slug":14288,"title":14289,"dynasty":204,"author":366,"museum":206,"description":14290,"tags":14291,"thumbUrl":14292,"material":123,"size":14293,"collection":90,"collections":14294,"showCount":14172,"zanCount":48,"manualWeight":48,"mainColor":49},218703,"ji-he-tu-xu-xi-218703","芰荷图","徐熙出生于江宁（今南京），也有记载认为他出生于锺陵（今江西南昌进贤县），一生从没有担任官职，只是专心绘画，他的绘画风格质朴简练，他创作了水墨淡彩的绘画方法，运用墨的浓淡变化，勾点兼施，画出花卉的枝叶萼蕊，略施淡彩，使色不碍墨不掩笔迹而生气动人。善于描绘汀花野竹、水鸟渊鱼、凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗等。",[7,23,24,225,83,173,27,28,227,136,137,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[90],{"id":14296,"slug":14297,"title":14298,"dynasty":18,"author":1419,"museum":206,"description":14299,"tags":14300,"thumbUrl":14301,"material":123,"size":14302,"collection":181,"collections":14303,"showCount":14172,"zanCount":1104,"manualWeight":48,"mainColor":49},218689,"tan-mei-tu-ma-yuan-218689","探梅图","这幅大画来自张大千的旧藏，丝绸已经破损，但仔细观察笔触，它是由明代浙江画派的画家所作。",[7,23,173,177,225,29,402,106,865,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdfc40fea4f0be200f77555498f468f.jpg","192x99.6",[181],{"id":14305,"slug":14306,"title":276,"dynasty":189,"author":278,"museum":311,"description":14307,"tags":14308,"thumbUrl":14309,"material":123,"size":14310,"collection":44,"collections":14311,"showCount":14172,"zanCount":48,"manualWeight":48,"mainColor":49},218444,"shui-yue-guan-yin-tu-yi-ming-218444","月色漫过绢面，晕开一层古雅的昏黄。观音趺坐于石上，衣袂如流水般铺展，垂眸间似含万顷慈悲。身后水月相涵，清波与月影交融成虚灵的境象，竹影疏斜掠过衣纹，添几分清寂禅意。线条柔婉却藏力道，每一笔都似在诉说禅心的空灵——不著凡尘，只留月华与水韵缠绵。这帧古画如同一枚被时光浸润的禅偈，静静铺展时，便将观者引入那片空明澄澈的水月世界，心也随之沉静下来。衣纹的流转、月色的朦胧、禅意的悠远，在方寸之间交织成一场无声的修行，让浮躁被温柔涤荡，只余对空性的敬畏与向往。",[7,23,24,225,243,28,244,27,106,285,4272,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e706788ef465ef888e2024e9954d0f.jpg","83.8x43.2",[44],{"id":14313,"slug":14314,"title":14315,"dynasty":76,"author":9369,"museum":206,"description":14316,"tags":14317,"thumbUrl":14318,"material":409,"size":14319,"collection":328,"collections":14320,"showCount":14172,"zanCount":2209,"manualWeight":48,"mainColor":94},214236,"kai-shu-ba-yan-lian-zhao-zhi-qian-214236","楷书八言联","此联笔墨沉雄朴厚，尽显赵之谦碑学精髓。篆隶笔意融入楷法，起收顿挫如刀刻金石，线条丰腴却骨力内蕴。字形宽博开张，欹正相生间见灵动，打破唐楷板滞。墨色浓淡有致，枯润相济，古雅之气扑面而来。上联绘风气摇月影之灵动，下联寓德泽感清泉之仁厚，文辞清雅与书法雄浑相得益彰。整体气象庄严又不失生机，是赵氏碑帖融合的典范，观之如临古碑，又觉文韵流转，耐人寻味。",[7,621,7024,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694ca2c3df8fb3e2838b6013c0e75bf0.jpg","145.3x38.6",[328],{"id":14322,"slug":14323,"title":2879,"dynasty":18,"author":553,"museum":311,"description":14324,"tags":14325,"thumbUrl":14326,"material":2164,"size":2165,"collection":139,"collections":14327,"showCount":14328,"zanCount":48,"manualWeight":48,"mainColor":49},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[7,209,23,225,1218,173,177,29,107,108,109,174,266,1423,866,176,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],99,{"id":14330,"slug":14331,"title":14332,"dynasty":99,"author":2494,"museum":20,"description":14333,"tags":14334,"thumbUrl":14335,"material":1488,"size":14336,"collection":181,"collections":14337,"showCount":14328,"zanCount":2209,"manualWeight":48,"mainColor":94},220908,"mo-juan-chuan-yi-tu-dong-qi-chang-220908","《墨卷传衣图》","《董其昌墨卷传衣图轴》是明代画家董其昌创作的一幅水墨画。\n本幅自识：“己丑南宫墨卷五策，为好事者所藏，得岸上人袖以示予。\n风檐仓卒，书道殊劣，何烦碧纱笼袭之三十五年也。",[7,23,173,225,177,29,384,35,385,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a079cbefa1eeb6917c512cd94e24bd.jpg","纵101.5厘米，横46.3厘米",[181,45],{"id":14339,"slug":14340,"title":14341,"dynasty":76,"author":2924,"museum":206,"description":12064,"tags":14342,"thumbUrl":14343,"material":88,"size":2929,"collection":139,"collections":14344,"showCount":14328,"zanCount":2209,"manualWeight":48,"mainColor":94},220331,"cao-chong-hua-hui-hu-shi-si-ping-mu-dan-ju-lian-220331","草虫花卉湖石四屏-牡丹",[7,23,24,225,28,27,369,229,511,84,926,1173,6461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9405a060a876dc38c257ff27f089ad9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鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 右下角，渚石上诞生了几朵野花，色彩淡雅，分外妖娆。",[7,23,24,28,27,83,14352,2053,109,283,12037],"寒柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164801a49616e2eaf0f52e7357700d20.jpg","纵60cm,横85cm",[90,45],{"id":14357,"slug":14358,"title":10828,"dynasty":99,"author":10799,"museum":447,"description":14359,"tags":14360,"thumbUrl":14361,"material":123,"size":139,"collection":90,"collections":14362,"showCount":14328,"zanCount":2209,"manualWeight":48,"mainColor":49},219052,"lu-yan-tu-lin-liang-219052","墨色浓淡交织间，苇丛恣肆舒展，叶片如剑划破虚灵的背景，尽显野逸之趣。雁群姿态憨然，或低头啄食，或翘首顾盼，羽毛以淡墨晕染，绒质感呼之欲出，兼工带写的笔法将水禽的灵动与野趣凝于尺幅。画面不着艳色，却于水墨淋漓中透出秋江芦岸的清寂与生机，笔力雄健又不失细腻，尽显写意花鸟的奔放与传神，仿佛能听见苇叶沙沙，雁鸣轻啼，将自然之趣定格成永恒的诗意图景。",[7,23,173,400,83,3899,3898,266,3981,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef142504755ac0f39ccbabbb50b7aca.jpg",[90],{"id":14364,"slug":14365,"title":14366,"dynasty":18,"author":1793,"museum":311,"description":14367,"tags":14368,"thumbUrl":14369,"material":2164,"size":2165,"collection":139,"collections":14370,"showCount":14371,"zanCount":48,"manualWeight":48,"mainColor":629},289659,"han-lin-qi-lv-tu-li-cheng-289659","寒林骑驴图","此为张大千氏大风堂旧藏，在大立轴上画文人骑驴行于郊野，前后有童仆相随。",[7,23,225,173,29,1776,865,13661,266,808,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a41e40e74bbef65a72e644fd95d8972.jpg",[],98,{"id":14373,"slug":14374,"title":14375,"dynasty":18,"author":418,"museum":311,"description":14376,"tags":14377,"thumbUrl":14378,"material":139,"size":139,"collection":139,"collections":14379,"showCount":14371,"zanCount":48,"manualWeight":48,"mainColor":49},230970,"song-hui-zong-dao-jun-li-ying-tu-ye-zhao-ji-230970","宋徽宗(道君)立鹰图页","画面中苍鹰独立危巅，铁爪紧扣寒石，侧目回望之际目光如炬，翎毛以浓淡墨色晕染，层次绵密，将猛禽的刚猛悍勇刻画入微。青蓝山石以淡彩点染，冷峭孤高，背景翻涌的海浪线条虬曲激荡，以动衬静，愈发凸显出雄鹰沉稳孤傲的气度。整作设色古雅沉静，工笔勾勒间不失写意风神，既见精妙的写实功底，亦将猛禽睥睨寰宇的雄逸气魄与浩渺天地相融，将悍猛英姿与幽远意境合为一体，尽显别致的笔墨意趣与精神内核。",[7,209,23,24,4850,27,28,83,4451,229,3191,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fcd749830e028272fda4a6618ab8ef.jpg",[],{"id":14381,"slug":14382,"title":14383,"dynasty":18,"author":553,"museum":311,"description":14384,"tags":14385,"thumbUrl":14386,"material":139,"size":139,"collection":139,"collections":14387,"showCount":14371,"zanCount":2209,"manualWeight":48,"mainColor":49},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[7,23,209,24,25,27,177,29,106,108,109,176,34,174,175,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],{"id":14389,"slug":14390,"title":14391,"dynasty":18,"author":3584,"museum":206,"description":14392,"tags":14393,"thumbUrl":14395,"material":139,"size":139,"collection":139,"collections":14396,"showCount":14371,"zanCount":2209,"manualWeight":48,"mainColor":49},227693,"song-gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-shang-juan-zhao-gou-227693","宋高宗书女孝经马和之补图上卷","宋高宗书女孝经马和之补图上卷，台北故宫博物院藏。\n\n旧题为高宗书马和之绘，所谓高宗题字，较近于理宗（1225-1264在位），故宜易名为〈宋人书画女孝经〉",[7,1004,14394,25,244,27,106,115,34,114,86,12177,263],"书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdad394b67f242e6a179c502e1ccdc7b.jpg",[],{"id":14398,"slug":14399,"title":14400,"dynasty":18,"author":323,"museum":20,"description":14401,"tags":14402,"thumbUrl":14403,"material":14404,"size":14405,"collection":328,"collections":14406,"showCount":14371,"zanCount":2209,"manualWeight":48,"mainColor":94},221281,"zhu-shang-zuo-tie-juan-di-yi-duan-huang-ting-jian-221281","诸上座帖卷第一段","《诸上座帖》是宋黄庭坚为友人李任道所录写的五代金陵僧人文益的《语录》，全文系佛家禅语。\n《诸上座帖》释文：\n“諸上座爲複只要弄唇嘴，爲復別有所圖，恐伊執著，且執著甚麽，爲復執著理，執著事，執著色，執著空，若是理，理且作麽生執，若是事，事且作麽生執，著色，著空亦然，山僧所以尋嘗向諸上座道，十方諸佛，十方善知識時嘗垂手，諸上座時嘗接手(以下點去十六字)，十方諸佛諸善知識垂手處合委悉也，甚麽處是諸上座接手處，還有會處會取好，莫未會得，莫道揔是都來圓取，諸上座傍家行腳，也須審諦著些子精神，莫只藉少智慧，過卻時光，山僧在衆見此多矣，古聖所見諸境，唯見自心，祖師道，不是風動幡動，風動幡動者心動，但且恁麽會好，別無親於親處也，僧問，如何是不生滅底心，向伊道，那個是生滅底心，僧云，爭奈學人不見，向伊道，汝若不見，不生不滅底也不是，又問，承教有言，佛以一音演說法。衆生隨類各得解，學人如何解，向伊道，汝甚解前問已是不會古人語也，因甚，卻向伊道，汝甚解，何處是伊解處。莫是于伊分中，便點與伊，莫是爲伊不會問，卻反射伊麽，決定非此道理，慎莫錯會，除此兩會，別又如何商量，諸上座若會得此語也，即會得諸聖揔持門，且作麽生會，若會得一音演說，不會得隨類各解，恁麽道莫是有過無過，說麽莫錯會好，既不恁麽會說一音演說，隨類得解，有個下落，始得每日空上來下去，又不當得人事，且究道眼始得，古人道，一切聲是佛聲，一切色是佛色，何不且恁麽會取。\n此是大丈夫出生死事，不可草草便會。拍盲小鬼子往往見便下口，如瞎驢吃草樣，故草此一篇，遺吾友李任道，明窗淨几，它日親見古人，乃是相見時節，山谷老人書。”（《古书画过眼要录》）\n署款：“山谷老人書。”“书”字上钤“山谷道人”朱文方玺。后纸有明吴宽，清梁清标题跋各一段。\n卷前后及隔水上钤宋“内府书印”、“绍兴”、“悦生”，元“危素私印”及明李应祯、华夏、周亮工，清孙承泽、王鸿绪，近代张伯驹等诸家鉴藏印。此帖初藏南宋高宗内府，后归贾似道，明代递藏于李应祯、华夏、周亮工处，清初藏孙承泽砚山斋，后归王鸿绪，乾隆时收入内府，民国初流出宫外，为张伯驹先生所得，后捐献给国家，现藏北京故宫博物院。\n此书师法怀素狂草体，笔意纵横，气势苍浑雄伟，字法奇宕，如马脱缰，无所拘束，尤其能显示出书者悬腕摄锋运笔的高超书艺。黄庭坚《山谷自论》云：“余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱，晚得苏才翁、子美书观之，乃得古人笔意。其后又得张长史、僧怀素、高闲墨迹，乃窥笔法之妙。”在《语录》后黄氏又作大字行楷书自识一则，结字内紧外松，出笔长而遒劲有力，一波三折，气势开张，一卷书法兼备二体，相互映衬，尤为罕见，是其晚年杰作。\n明都穆《寓意编》、华夏《真赏斋赋注》、文嘉《钤山堂书画记》、张丑《清河书画舫》、《清河见闻表》、卞永誉《式古堂书画汇考》，清孙承泽《庚子消夏记》、清内府《石渠宝笈·初编》等书著录。",[7,86,2570,178,25,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7641fa332e60c6c852d5ad2afb6918.jpg","纸本，手卷，草书","纵33cm，横729.5cm",[328],{"id":14408,"slug":14409,"title":14410,"dynasty":18,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，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[7,23,209,24,25,173,177,178,86,263,29,176,34,466,14454,174,37,557,1267],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[181],{"id":14459,"slug":14460,"title":14461,"dynasty":189,"author":14462,"museum":8534,"description":14463,"tags":14464,"thumbUrl":14465,"material":123,"size":14466,"collection":44,"collections":14467,"showCount":14371,"zanCount":1337,"manualWeight":48,"mainColor":49},219908,"huang-jin-lv-tu-liu-yuan-219908","黄金缕图","刘元","图绘司马才仲昼寝入梦、苏小小翩然而至的情景。笔致精工，不论是人物的情态、衣着，还是廊柱、台阶以及室内之桌椅，均极为精细。",[7,23,28,27,106,67,244,9728,5766,436,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d4b71eeaa09ae87d84db9d741bd8e7.jpg","28.9x73.4厘米",[44],{"id":14469,"slug":14470,"title":14471,"dynasty":99,"author":278,"museum":2958,"description":14472,"tags":14473,"thumbUrl":14475,"material":123,"size":14476,"collection":44,"collections":14477,"showCount":14371,"zanCount":1337,"manualWeight":48,"mainColor":49},219583,"zhen-qin-huo-lang-tu-yi-ming-219583","珍禽货郎图","画面里货郎车层层叠叠，珍禽翎羽、精巧玩物错落排布，老者俯身递出物件，眉眼含着温煦笑意。周遭稚童各有神态，或踮脚抬首凝眸张望，或蹲坐嬉玩，灵动尽显。\n\n笔线细腻遒劲，晕染古雅柔和，将巷陌间的鲜活烟火铺展开来，把货郎营生的热闹、孩童嬉游的天真揉为一处，藏着市井日常的融融暖意，尽显世俗浮生的悠然意趣，是描摹民间烟火气的精妙之作。",[7,23,28,27,106,4304,9615,1628,300,14474,939],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1b0f675a44b3481be33a930c92e338.jpg","纵161.5横97.2厘米",[44,45],{"id":14479,"slug":14480,"title":14481,"dynasty":99,"author":10349,"museum":447,"description":14482,"tags":14483,"thumbUrl":14484,"material":409,"size":14485,"collection":44,"collections":14486,"showCount":14371,"zanCount":48,"manualWeight":48,"mainColor":49},219507,"liu-min-tu-wu-wei-219507","流民图","“流民图”这个概念，可以追溯至文献中记载的北宋郑侠《流民图》，也即一种讽喻社会阴暗面的政治寓言。",[7,209,23,24,25,173,244,106,29,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee54b264cb8fd4942f81dde5e61dca.jpg","纵38.5横546.5厘米",[44,163],{"id":14488,"slug":14489,"title":14490,"dynasty":18,"author":1419,"museum":206,"description":14491,"tags":14492,"thumbUrl":14494,"material":123,"size":14495,"collection":181,"collections":14496,"showCount":14371,"zanCount":48,"manualWeight":48,"mainColor":49},219001,"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[7,209,23,24,29,106,1365,176,108,173,27,177,14493,4655],"南宋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[181],{"id":14498,"slug":14499,"title":14500,"dynasty":277,"author":278,"museum":311,"description":14501,"tags":14502,"thumbUrl":14503,"material":2164,"size":2165,"collection":139,"collections":14504,"showCount":14505,"zanCount":48,"manualWeight":48,"mainColor":629},231611,"fu-hua-qi-xiang-pu-xian-pu-sa-xiang-li-zhou-yi-ming-231611","佛画 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。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[7,23,24,225,29,173,177,557,34,466,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[42,181,163],{"id":14516,"slug":14517,"title":14518,"dynasty":18,"author":446,"museum":14519,"description":14520,"tags":14521,"thumbUrl":14522,"material":4130,"size":14523,"collection":139,"collections":14524,"showCount":14505,"zanCount":2209,"manualWeight":48,"mainColor":49},223341,"yun-qi-lou-tu-mi-fei-223341","云起楼图","赛克勒美术馆","画中“云起楼图”题字，确为明董其昌真迹，非常珍贵。\n米芾最擅长的是以笔墨点染的方式描绘江南山水，本件《云起楼图》是典型的“米氏云山”的传统，在技法上，采用江南画家董源、巨然的传统，以苔墨点与晕染来画圆弧形的山峦，让山水形象融合在一片雾气中，特别具有抒情的韵味。\n画面约中景处，丘陵顶端有一两座院落，下可眺望江景，远观则为烟云变幻的山峦。这让人联想起米芾位于润州（江苏镇江）北固山的故居“海岳庵”，附近有名胜“甘露寺”与“多景楼”，米芾时常登览赋诗（例如《秋暑憩多景楼诗》），浏览江南云雾变化的景致。米芾之子米友仁的《潇湘奇观卷》亦是描绘“海岳庵”一带的山川景色。米芾润州家居的景观，成为创作云山图最重要的题材之一。\n近景亦以类似的墨点图写前后两排的松木，墨色稍浓，其间及其与远山间，仍以烟云留白的技法分隔空间，与整幅图表达空间层次感的幽缈之意相映成趣。其山木树石的风格似乎可从董源处寻其渊源。除此之外，米芾“以山水古今相师”，即融合古人技法与对自然山水的体悟成一家，风格独特，故世称“大米”。\n这幅又作《天降时雨图》，画家巧妙地运用“烟云掩映”的技法，分隔远山与松木之间的空间感，尤其是墨点晕染的圆转山头，可见其山顶积墨浓重、表现阴影，山腰以下则没人淡墨晕染的烟云中，仿佛连绵的山峦出入云霭间，幽缈、空远。",[7,23,173,29,2279,34,177,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104b03b59e1d79cc0c5f6fda4b889ce9.jpg","150cm×78.8cm",[],{"id":14526,"slug":14527,"title":14528,"dynasty":76,"author":336,"museum":20,"description":14529,"tags":14530,"thumbUrl":14531,"material":67,"size":14532,"collection":44,"collections":14533,"showCount":14505,"zanCount":48,"manualWeight":48,"mainColor":94},222791,"dao-guang-di-chao-fu-xiang-zhou-lang-shi-ning-222791","道光帝朝服像轴","郎世宁（1688-1766），意大利米兰人，原名朱塞佩·伽斯底里奥内。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，在中国传统绘画技法中融合了讲究立体效果，注意透视和明暗，重视写实和结构准确的合理性。擅画肖像、走兽、花果、翎毛，尤善画马。他是将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐。",[7,23,24,225,28,27,106,11709,63,433,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ebc1b16c1a24a78979bfc2d02b1314.jpg","35x57",[44,45],{"id":14535,"slug":14536,"title":14537,"dynasty":18,"author":14538,"museum":56,"description":14539,"tags":14540,"thumbUrl":14541,"material":3812,"size":14542,"collection":139,"collections":14543,"showCount":14505,"zanCount":1337,"manualWeight":48,"mainColor":94},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[7,23,25,244,173,243,106,29,384,385,109,175,13000,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纵34.9厘米，横848.8厘米",[],{"id":14545,"slug":14546,"title":14547,"dynasty":18,"author":323,"museum":206,"description":14548,"tags":14549,"thumbUrl":14550,"material":712,"size":14551,"collection":328,"collections":14552,"showCount":14505,"zanCount":2209,"manualWeight":48,"mainColor":94},221269,"han-shan-zi-pang-ju-shi-shi-tie-quan-juan-huang-ting-jian-221269","寒山子庞居士诗帖全卷","黄庭坚《寒山子、庞居士诗卷》，它是北宋书法家黄庭坚的一幅行书代表作，内容是唐代隐士寒山子《劝戒诗》与居士庞蕴的诗偈，现藏于台北故宫博物院。这一诗卷是黄庭坚晚年的杰作，有着鲜明的黄庭坚行书的风格特征，尤其在字的结体上，吸收了《瘗鹤铭》和颜真卿楷书的结字方法，加以夸张和变化，创造出一种俊挺豪迈的新面目。\n这幅作品中字都有这样的特点，一波数折；中宫收敛的地方，笔画排列紧密，显得雄强茂美，而有些笔画，如帖中“水、人、本”等字的撇捺，“黄、箭、世、苹、业”等字的横笔，都是尽情地纵向伸展，横向逸出，显得痛快淋漓，具有豪爽飘逸之气。字形结构上突破了方正规矩的外形，在冲破均衡的同时，又能使字保持住重心，笔画的伸展并不是完全没有方向，疏密处理得很巧妙，笔画之间也是左顾右盼、互相呼应，有放也有收。这幅字的结构上还有“攲侧”的特点，不但横画倾斜，竖画也蛇曲不正，然而这些歪斜的字笔画遒劲，结体开张，很有气派。",[7,86,178,25,622,263,173,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca27a7894bdb3fa8554156431e57f83.jpg","纵29.1，横213.8厘米",[328],{"id":14554,"slug":14555,"title":14556,"dynasty":1483,"author":3526,"museum":311,"description":14557,"tags":14558,"thumbUrl":14559,"material":139,"size":139,"collection":328,"collections":14560,"showCount":14505,"zanCount":1337,"manualWeight":48,"mainColor":94},221036,"cao-jue-bai-yun-ge-quan-juan-wang-xi-zhi-221036","草诀百韵歌全卷","《草诀百歌韵》是中国古代一本重要的草书歌诀，学草书的重要门径，作者署名王羲之，但据相关资料显示，此书未见于北宋，伪托王羲之之名，如明代杨慎的《升》 庵外集》卷88云：「《草秘韵百歌》乃宋人编成，以示初级，托名王羲之。",[7,86,2570,25,105,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc393e8005cbb450b2bb396c178509c.jpg",[328,2097],{"id":14562,"slug":14563,"title":14564,"dynasty":189,"author":645,"museum":20,"description":14565,"tags":14566,"thumbUrl":14567,"material":14568,"size":14569,"collection":181,"collections":14570,"showCount":14505,"zanCount":1314,"manualWeight":48,"mainColor":49},220878,"shu-dao-nan-zhao-meng-fu-220878","蜀道难","此图描写了大自然动人心魄的奇险与壮伟，给人以回肠荡气之感。诸多的画面此隐彼现，无论是山之高，水之急，河山之改观，林木之荒寂，连峰绝壁之险，皆有逼人之势，其气象之宏伟，其境界之阔大，确非他人可及。再从总体来看，其变化极速，愈变愈奇，又往往出人意料，使人目不暇接。正如清代诗评家沈德潜所盛称：“笔势纵横，如虬飞蠖动，起雷霆于指顾之间。”",[7,23,27,29,106,150,384,176,37,1422,114,2137,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54697ce08d4ec72533884797c61458dd.jpg","立轴，纸本设色","纵154.4厘米，纵56.6厘米",[181,45],{"id":14572,"slug":14573,"title":14574,"dynasty":99,"author":1014,"museum":1098,"description":14575,"tags":14576,"thumbUrl":14578,"material":88,"size":14579,"collection":181,"collections":14580,"showCount":14505,"zanCount":48,"manualWeight":48,"mainColor":94},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[7,23,24,25,173,27,29,177,867,174,266,866,109,176,14577,1542,175,34],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 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扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[7,23,24,25,28,27,105,83,226,404,62,370,512,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":14637,"slug":14638,"title":14639,"dynasty":204,"author":1839,"museum":311,"description":14640,"tags":14641,"thumbUrl":14642,"material":139,"size":139,"collection":139,"collections":14643,"showCount":14616,"zanCount":48,"manualWeight":48,"mainColor":49},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[7,23,24,209,225,173,177,29,34,108,109,35,106,176,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],{"id":14645,"slug":14646,"title":5104,"dynasty":76,"author":3676,"museum":583,"description":14647,"tags":14648,"thumbUrl":14649,"material":527,"size":14650,"collection":90,"collections":14651,"showCount":14616,"zanCount":48,"manualWeight":48,"mainColor":94},224223,"song-mei-tu-wu-chang-shuo-224223","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[7,23,24,225,173,27,83,403,402,263,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[90,45],{"id":14653,"slug":14654,"title":3263,"dynasty":76,"author":336,"museum":20,"description":14655,"tags":14656,"thumbUrl":14657,"material":40,"size":14658,"collection":90,"collections":14659,"showCount":14616,"zanCount":2209,"manualWeight":48,"mainColor":94},222781,"hua-niao-ce-ye-lang-shi-ning-222781","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[7,209,23,24,81,28,27,83,402,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg","纵32.6厘米，横28.6厘米",[90,45],{"id":14661,"slug":14662,"title":14663,"dynasty":76,"author":3223,"museum":583,"description":3224,"tags":14664,"thumbUrl":14665,"material":67,"size":3228,"collection":139,"collections":14666,"showCount":14616,"zanCount":2209,"manualWeight":48,"mainColor":94},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7",[7,23,27,28,83,402,692,370,926,558,2137,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg",[],{"id":14668,"slug":14669,"title":14670,"dynasty":18,"author":1793,"museum":56,"description":14671,"tags":14672,"thumbUrl":14673,"material":13665,"size":14674,"collection":139,"collections":14675,"showCount":14616,"zanCount":48,"manualWeight":48,"mainColor":49},221411,"xiao-han-lin-tu-juan-li-cheng-221411","小寒林图卷","绘远处山恋起伏，云雾空蒙；近处松树数株，松干挺直，枝杈虬曲多姿，林木笼罩于烟霭雾气之中，四周坡面山石间杂树丛生，郁郁葱葱。李成，五代画家，画山石以“卷云皴”；画寒林创“蟹爪”法，其学生郭熙亦秉承其画风。",[7,23,24,25,173,29,177,1082,865,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c461e36f2a0526a7f631fdaa0a30b03.jpg","39.4x71.4\u002F39.4x233厘米",[],{"id":14677,"slug":14678,"title":14679,"dynasty":76,"author":77,"museum":311,"description":1407,"tags":14680,"thumbUrl":14681,"material":1116,"size":14682,"collection":90,"collections":14683,"showCount":14616,"zanCount":48,"manualWeight":48,"mainColor":255},221001,"hua-hui-li-zhou-yun-shou-ping-221001","花卉立轴",[7,23,225,82,27,83,369,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72df777f65aff6071f8368bf22ed0ab.jpg","48.5×118.5",[90,45],{"id":14685,"slug":14686,"title":14687,"dynasty":189,"author":1442,"museum":20,"description":14688,"tags":14689,"thumbUrl":14690,"material":1488,"size":14691,"collection":163,"collections":14692,"showCount":14616,"zanCount":48,"manualWeight":48,"mainColor":49},220798,"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","《梧竹秀石图》绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。\n图中画梧桐一株，疏竹数竿，湖石平坡，间以涓涓细流。与以往画家惯用干淡松秀笔墨表现不同的是，全画用大胆的墨笔写成，颇具苍润淋漓之妙。梧叶用阔笔、湿墨侧抹而出，莽苍超忽，而清阴如覆；树干、秀石的表现亦以侧笔写成，湖石用浓墨皴出，其浑厚有北苑之意。这幅画为倪瓒画风成熟期少见的变体之作。画家通过对墨色浓淡、干湿的运用，使画面极富层次感。梧桐、竹石的表现与宋院体画讲究写真、追求形似相比已颇有变化，更突出了笔墨对自我性灵的抒发。正合《艺苑卮言》中云：“山水以气韵为主，形模寓乎其中。”草草点染而又不改物形的矛盾，倪瓒在此图中将其处理得恰到好处。",[7,209,23,173,225,226,2341,229,178,263,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[163,1896],{"id":14694,"slug":14695,"title":14696,"dynasty":189,"author":1539,"museum":101,"description":14697,"tags":14698,"thumbUrl":14700,"material":699,"size":14701,"collection":181,"collections":14702,"showCount":14616,"zanCount":1104,"manualWeight":48,"mainColor":94},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[7,23,24,173,177,400,29,174,109,34,3899,11269,1542,14699,2310],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[181,163],{"id":14704,"slug":14705,"title":14706,"dynasty":18,"author":1419,"museum":132,"description":14707,"tags":14708,"thumbUrl":14709,"material":123,"size":139,"collection":181,"collections":14710,"showCount":14616,"zanCount":2209,"manualWeight":48,"mainColor":49},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[7,209,23,24,225,27,28,177,29,175,384,1775,106,558,1231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[181],{"id":14712,"slug":14713,"title":999,"dynasty":18,"author":278,"museum":677,"description":14714,"tags":14715,"thumbUrl":14716,"material":123,"size":14717,"collection":42,"collections":14718,"showCount":14616,"zanCount":2209,"manualWeight":48,"mainColor":49},215141,"mu-niu-tu-yi-ming-215141","柳树下母子牛与牧童幽然自得，老牛正舔小水牛，使人很自然想起舔犊情深的成语。一牧童依坐在柳树下打盹欲睡，远处池塘水波拂动，柳树及所有青草一齐飘拂一边，显然是春风和熙的春天情境。",[7,23,28,27,106,151,384,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb029c7a8756d57f421eeee8d256b9e45.jpg","24.7x25.6cm",[42,90],{"id":14720,"slug":14721,"title":14722,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":14723,"thumbUrl":14724,"material":699,"size":1567,"collection":139,"collections":14725,"showCount":14616,"zanCount":2209,"manualWeight":48,"mainColor":49},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7",[7,23,173,27,81,177,29,229,34,106,1265,4064,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg",[],{"id":14727,"slug":14728,"title":14729,"dynasty":99,"author":1362,"museum":206,"description":14730,"tags":14731,"thumbUrl":14732,"material":409,"size":14733,"collection":328,"collections":14734,"showCount":14616,"zanCount":48,"manualWeight":48,"mainColor":94},214313,"ci-chang-shou-cai-lv-shi-wen-zheng-ming-214313","赐长寿彩缕诗","释文：紫宸朝下锡灵丝。金水桥边拜命时。文绣自天腾五色。光华约臂结双螭。重惭潦倒随恩泽。还忝班行覩盛仪。愿得君王千万寿。日华常照衮衣垂。赐长寿彩缕。征明。",[7,939,86,178,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F353897f0799e885400bd52daa4fd9296.jpg","347.1x97.8",[328],{"id":14736,"slug":14737,"title":14738,"dynasty":99,"author":14739,"museum":311,"description":14740,"tags":14741,"thumbUrl":14742,"material":139,"size":139,"collection":139,"collections":14743,"showCount":14744,"zanCount":2209,"manualWeight":48,"mainColor":94},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[7,209,23,24,25,173,178,86,226,406,407,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],95,{"id":14746,"slug":14747,"title":14748,"dynasty":99,"author":2242,"museum":311,"description":14749,"tags":14750,"thumbUrl":14751,"material":139,"size":139,"collection":139,"collections":14752,"showCount":14744,"zanCount":2209,"manualWeight":48,"mainColor":94},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[7,23,24,25,27,173,400,83,369,229,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":14754,"slug":14755,"title":14756,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":14757,"thumbUrl":14759,"material":27,"size":1608,"collection":139,"collections":14760,"showCount":14744,"zanCount":48,"manualWeight":48,"mainColor":94},222749,"xian-e-chang-chun-tu-06a-lang-shi-ning-222749","仙萼长春图-06a",[7,209,23,24,81,27,28,83,14758,369],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adacdd9409943ffa72bb6bc318274c3.jpg",[],{"id":14762,"slug":14763,"title":14764,"dynasty":76,"author":3223,"museum":583,"description":3224,"tags":14765,"thumbUrl":14766,"material":67,"size":3228,"collection":139,"collections":14767,"showCount":14744,"zanCount":1314,"manualWeight":48,"mainColor":94},222679,"si-ji-hua-niao-tu-ping-2-chen-mei-222679","四季花鸟图屏2",[7,23,28,27,83,370,62,926,607,369,406,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg",[],{"id":14769,"slug":14770,"title":14771,"dynasty":99,"author":2242,"museum":206,"description":4030,"tags":14772,"thumbUrl":14776,"material":527,"size":14777,"collection":90,"collections":14778,"showCount":14744,"zanCount":48,"manualWeight":48,"mainColor":94},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴",[7,23,225,173,27,400,83,136,781,925,314,3899,939,5535,1628,84,284,14773,2352,14774,9791,14775],"淡彩","写意花鸟","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[90,45],{"id":14780,"slug":14781,"title":14782,"dynasty":99,"author":5161,"museum":56,"description":14783,"tags":14784,"thumbUrl":14785,"material":139,"size":14786,"collection":90,"collections":14787,"showCount":14744,"zanCount":48,"manualWeight":48,"mainColor":94},222415,"mei-hua-ye-zhi-tu-zhou-zhi-mian-222415","梅花野雉图","彩绘老干红梅，野雉栖于其上，竹石映带左右。作者周之冕江苏苏州人，善画花鸟，能的其神态；设色清雅，在陈淳、陆治之间，钩花点叶，间出新意。惟酒成癖，诚是一病。此图写生意味颇浓，构图匀称；工笔精细逼真，而无板滞痕迹，正是难能可贵之处。上有作者“丙申夏日汝南周之冕写”名款，下钤“周之冕印”、“服卿”印章二方。图的整体布局严谨，描摹惟妙惟肖，是同时期画作中的佳品。",[7,23,83,27,173,402,370,229,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2989106565d8ba25606cccdc69711.jpg","纵: 134.5厘米. 横: 33.6厘米",[90,45],{"id":14789,"slug":14790,"title":14791,"dynasty":99,"author":2146,"museum":20,"description":14792,"tags":14793,"thumbUrl":14794,"material":10804,"size":14795,"collection":181,"collections":14796,"showCount":14744,"zanCount":1337,"manualWeight":48,"mainColor":94},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[7,23,24,225,173,177,178,402,176,106,865,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纵108.6厘米，横34.5厘米。",[181,163],{"id":14798,"slug":14799,"title":14800,"dynasty":189,"author":14801,"museum":206,"description":14802,"tags":14803,"thumbUrl":14804,"material":302,"size":14805,"collection":45,"collections":14806,"showCount":14744,"zanCount":2209,"manualWeight":48,"mainColor":49},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[7,23,24,209,225,28,27,106,59,226,229,62,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 57.5公分",[45,1896],{"id":14808,"slug":14809,"title":14810,"dynasty":18,"author":14811,"museum":101,"description":14812,"tags":14813,"thumbUrl":14814,"material":27,"size":14815,"collection":42,"collections":14816,"showCount":14744,"zanCount":48,"manualWeight":48,"mainColor":49},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[7,23,209,25,27,177,29,1365,175,150,106,1265,37,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 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《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[7,23,173,27,177,29,34,1365,176,114,468,557,35,15011,1082,1267],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[181,163],{"id":15016,"slug":15017,"title":15018,"dynasty":949,"author":3807,"museum":3808,"description":15019,"tags":15020,"thumbUrl":15021,"material":139,"size":139,"collection":139,"collections":15022,"showCount":14940,"zanCount":48,"manualWeight":48,"mainColor":94},220554,"song-ren-pi-ma-chang-xiao-shi-yi-xu-bei-hong-220554","宋人匹马长啸诗意","以浓淡干湿的墨色晕染出骏马的遒劲筋骨，鬃尾以狂放泼墨扫就，翻卷如疾风吹过，将骏马桀骜昂扬的神采尽皆彰显。背景柳丝荒草以淡墨虚笔铺陈，留白烘托出马的苍劲雄浑，虚实相生间，旷野清寂与骏马长嘶的氛围感扑面而来，仿佛能听见振鬣嘶鸣的回响，将诗意化为鲜活的视觉意象。写实造型与写意笔墨浑然相融，既见骏马剽悍俊朗的体态，又尽显旷远灵动的意境，把旷野孤马的豪迈洒脱诠释得淋漓尽致。",[7,23,173,400,150,1003,6516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604243463a321fc532bc209c6152f12.jpg",[],{"id":15024,"slug":15025,"title":15026,"dynasty":76,"author":15027,"museum":206,"description":15028,"tags":15029,"thumbUrl":15031,"material":123,"size":15032,"collection":90,"collections":15033,"showCount":14940,"zanCount":48,"manualWeight":48,"mainColor":94},220405,"song-jian-wo-hu-tu-a-er-bai-220405","松间卧虎图","阿尔粺","清代阿尔粺绘。阿尔粺是一位满族画家，字香榖，舒穆禄氏，满洲镶蓝旗人。阿尔粺善画虎、鹰等，《啸亭杂录》云 “精于绘事，以画虎闻名，赏鉴家宝之”。画轴中之虎双目微睁，前爪平放，脊背伸长，似乎是一只刚刚睡醒正在伸懒腰的睡虎，画面上下的松树恰好将虎包围起来，给人一种虎躺在窝中安逸祥和之感。此幅现藏于台北故宫博物院，绢本设色。",[7,209,23,24,27,28,1365,15030,176,808,315],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc39579ce3a98b7f5b622e8f5b4f35.jpg","70.5x46.7",[90,45],{"id":15035,"slug":15036,"title":15037,"dynasty":76,"author":4406,"museum":101,"description":15038,"tags":15039,"thumbUrl":15040,"material":409,"size":139,"collection":181,"collections":15041,"showCount":14940,"zanCount":2209,"manualWeight":48,"mainColor":94},219711,"fang-ju-ran-xi-shan-gao-shi-tu-wang-jian-219711","仿巨然溪山高士图","《仿巨然溪山高士图轴》是王鉴的一副临摹宋朝著名画僧巨然和尚的古山水画。王鉴擅长临摹古人之画，功底深厚，巨然是他非常推崇的北宋大家，他一生中摹仿巨然的作品非常多，巨然的画风淡墨轻岚，风韵秀润。此图上款识：“巨然《溪山高士图》来自内府，为大司空刘敬仲先生所藏。余在长安时曾见过，今不知流落谁手。雨窗闲坐，思其意为之，不求其形似也。王鑑。",[7,23,173,177,105,225,29,107,229,109,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885430959c37cabba225c27dbb27cb24.jpg",[181],{"id":15043,"slug":15044,"title":15045,"dynasty":76,"author":278,"museum":447,"description":15046,"tags":15047,"thumbUrl":15054,"material":88,"size":139,"collection":44,"collections":15055,"showCount":14940,"zanCount":1337,"manualWeight":48,"mainColor":49},219573,"cun-tong-nao-xue-tu-yi-ming-219573","村童闹学图","画面里私塾方寸间满是稚拙嬉闹：先生伏在案上昏昏欲睡，学童们便挣脱了课业束缚。有的蹑脚溜出门外，有的在案间追跑玩闹，有的凑在一起窃窃逗趣，更有孩童蹲在地上逗弄猫狗，角落的小童还模仿成人模样装腔嬉耍。\n\n鲜活的细节将乡野学塾的日常肆意铺展，把孩童的顽劣天真与先生的昏慵倦怠形成强烈反差，笔触细腻写实，满溢着诙谐质朴的市井烟火气，将旧时村塾里跳脱鲜活的瞬间定格，复刻出乡野稚趣的日常图景，尽显平淡日常里的生动意趣。",[7,23,27,106,15048,15049,15050,807,61,8725,15051,15052,15053],"私塾","学童","先生","诙谐","稚趣","市井烟火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070405380069ea2dc576ab4a9f003632.jpg",[44],{"id":15057,"slug":15058,"title":15059,"dynasty":189,"author":3051,"museum":101,"description":15060,"tags":15061,"thumbUrl":15062,"material":123,"size":15063,"collection":44,"collections":15064,"showCount":14940,"zanCount":2209,"manualWeight":48,"mainColor":94},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[7,209,23,24,25,27,28,178,263,29,106,174,34,109,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[44,45,328],{"id":15066,"slug":15067,"title":15068,"dynasty":18,"author":15069,"museum":3188,"description":15070,"tags":15071,"thumbUrl":15072,"material":123,"size":15073,"collection":42,"collections":15074,"showCount":14940,"zanCount":48,"manualWeight":48,"mainColor":49},219105,"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[7,209,23,24,225,28,27,83,402,226,229,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[42,90],{"id":15076,"slug":15077,"title":15078,"dynasty":76,"author":278,"museum":311,"description":15079,"tags":15080,"thumbUrl":15081,"material":123,"size":15082,"collection":44,"collections":15083,"showCount":14940,"zanCount":1104,"manualWeight":48,"mainColor":49},218281,"ting-yuan-chun-se-tu-yi-ming-218281","庭苑春色图","画面铺展雅致庭苑景致，暖棕底色晕染时光温润。端坐的女子轻抱琵琶，指尖似凝住弦上余韵，眉眼神情专注而娴静；旁侧侍女俯身案前，动作轻柔如春风拂过，案上器物错落，笼中雀鸟似待和鸣。枝间梅花疏影横斜，点点春意悄然入画，与古朴陈设相映成趣。细腻笔触勾勒人物情态，器物细节精致传神，将春日庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[7,23,27,28,104,106,59,107,402,228,210,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[44],{"id":15085,"slug":15086,"title":2977,"dynasty":18,"author":278,"museum":1098,"description":15087,"tags":15088,"thumbUrl":15092,"material":123,"size":7962,"collection":44,"collections":15093,"showCount":14940,"zanCount":1337,"manualWeight":48,"mainColor":94},218235,"luo-shen-fu-tu-yi-ming-218235","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[7,209,23,24,25,27,28,106,59,15089,174,109,34,6384,15090,266,15091,8425],"洛神","仙禽异兽","怅惘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[44],{"id":15095,"slug":15096,"title":15097,"dynasty":76,"author":522,"museum":1529,"description":15098,"tags":15099,"thumbUrl":15100,"material":88,"size":15101,"collection":44,"collections":15102,"showCount":14940,"zanCount":1337,"manualWeight":48,"mainColor":94},216737,"tan-zhu-tu-huang-shen-216737","探珠图","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[7,23,24,209,225,173,27,106,400,282,402,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[44],{"id":15104,"slug":15105,"title":15106,"dynasty":99,"author":12707,"museum":206,"description":15107,"tags":15108,"thumbUrl":15109,"material":409,"size":15110,"collection":328,"collections":15111,"showCount":14940,"zanCount":1104,"manualWeight":48,"mainColor":49},214256,"bu-zi-qi-shuo-shen-du-214256","不自弃说","这幅画是沈度在七十岁时写的，是一篇论战，敦促世人勤奋努力，饮水思源，不要自暴自弃。它以精细整齐的楷书书写，风格严谨，虽然开头的笔画有转折的痕迹，下降的笔画也有延伸，透露出一种温和而微妙的姿态，减弱了严肃性。",[7,86,621,225,173,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb6c545198d9689ed9ce0b5c39505cb.jpg","104.4x29.9",[328],{"id":15113,"slug":15114,"title":12677,"dynasty":189,"author":9788,"museum":311,"description":15115,"tags":15116,"thumbUrl":15117,"material":139,"size":15118,"collection":139,"collections":15119,"showCount":15120,"zanCount":1337,"manualWeight":48,"mainColor":49},231513,"hua-niao-tu-juan-wang-yuan-231513","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[7,23,209,25,28,27,86,263,83,402,369,226,229,264,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 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，布白均匀，笔势舒展明朗，形体全以楷书体势为之，自具风神，是明代难得的隶书作品。",[7,939,5405,86,25,8289,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c850084992b955b62a2fb7b118df7.jpg","纵30.5厘米，横86.5厘米",[328],{"id":15255,"slug":15256,"title":8968,"dynasty":18,"author":278,"museum":206,"description":15257,"tags":15258,"thumbUrl":15259,"material":327,"size":15260,"collection":90,"collections":15261,"showCount":15120,"zanCount":1337,"manualWeight":48,"mainColor":49},218910,"ku-mu-zhu-shi-tu-yi-ming-218910","在这幅画中，用飞白的方法在画面上画了一个石块，墨色淡而笔力强。三两根竹子站在岩石的背面，叶子用优雅而厚实的笔画着，仿佛是春山上的云朵。在一棵寒冷的树枝上，栖息着一种山鸟，它的羽毛非常精致。仔细观察笔触和墨迹，艺术家已经开始形成与赵孟𫖯的相似性。",[7,23,24,209,173,177,83,451,226,229,266,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae588fde6c3ba57b3dc0a96ffdc698.jpg","107.9x51.1厘米",[90],{"id":15263,"slug":15264,"title":15265,"dynasty":18,"author":1419,"museum":206,"description":1851,"tags":15266,"thumbUrl":15267,"material":123,"size":1854,"collection":139,"collections":15268,"showCount":15120,"zanCount":2209,"manualWeight":48,"mainColor":94},218578,"hua-niao-shan-shui-xiao-pin-ce-mu-dan-ma-yuan-218578","花鸟山水小品册-牡丹",[7,209,23,24,81,28,27,83,369,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766926073a503e1a589f642282e16710.jpg",[],{"id":15270,"slug":15271,"title":15272,"dynasty":189,"author":278,"museum":311,"description":15273,"tags":15274,"thumbUrl":15275,"material":123,"size":15276,"collection":44,"collections":15277,"showCount":15120,"zanCount":1337,"manualWeight":48,"mainColor":49},218450,"e-mi-tuo-fo-tu-yi-ming-218450","阿弥陀佛图","佛像庄严伫立，右手施无畏印，左手自然垂落，姿态慈悲安详。身着暗红袈裟，饰金色法轮纹样，衣袂垂落间尽显古朴庄重。肤色温润，头光与背光层次分明，暗褐背景更衬神圣。装裱精致，上下深蓝底金纹织物，中间金色祥云边框环绕，金彩熠熠与暗红袈裟相映。整体色调深沉华丽，肃穆中透着慈悲，尽显元代佛教艺术的庄严典雅，仿佛能让人感受到超越时空的宁静与神圣。",[7,23,24,225,27,28,243,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f3ca149a4f4214a7e0dedff73f805c.jpg","98.2x41.9",[44],{"id":15279,"slug":15280,"title":15281,"dynasty":76,"author":12204,"museum":206,"description":15282,"tags":15283,"thumbUrl":15284,"material":699,"size":15285,"collection":44,"collections":15286,"showCount":15120,"zanCount":1314,"manualWeight":48,"mainColor":94},218363,"fang-li-gong-lin-ming-huang-ji-qiu-tu-ding-guan-peng-218363","仿李公麟明皇击球图","场景中画有16个人物，10个人聚集在场景中间，争夺一个小球。场景中央的人是唐朝的明朝皇帝李隆基。皇帝用臀部骑着一匹骏马，看起来专注而敏捷。他周围的人，有的戴着官帽，有的头上戴着发卡，也都骑在马背上，手持球棒，与皇帝争夺地上的球。他们是皇帝身边的官员、同伴和嫔妃，有两个人在头顶，两个人在卷尾看守目标。画中的人物姿态各异，静中有动，动中有变。这幅画画得很稀疏，线条流畅。",[7,23,24,25,244,105,106,150,263,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3926ed3aac8697de219bc21a49828.jpg","32.1x523.2",[44],{"id":15288,"slug":15289,"title":15290,"dynasty":99,"author":4796,"museum":206,"description":15291,"tags":15292,"thumbUrl":15293,"material":123,"size":15294,"collection":90,"collections":15295,"showCount":15120,"zanCount":48,"manualWeight":48,"mainColor":94},216775,"mei-hua-you-niao-tu-bian-wen-jin-216775","梅花幽鸟图","边文进（活动于1403-1428），字景昭，福建沙县人。永乐朝宫廷画家，至宣德年间被授与武英殿待诏官衔。善画花果翎毛，为明初宫廷画家中花鸟画最著名画家，并与善画山水人物的蒋子诚、画虎的赵廉并称「禁中三绝」。\n本幅为〈历代名绘册〉其中一开，描绘盛开白梅，并有一黄眉鵐栖于梅枝上，引颈顾盼。梅枝由左向画幅右侧伸出，曲虬横错，白梅盛开与将开的花苞倚侧枝头，并局部施以白线条勾勒花瓣型态，虽花朵颜料有些脱落，仍可略窥白梅盛开风华。枝头黄眉鵐鸟羽描绘精细，并呈现松活充盈之效。画幅左侧有「景昭」二字，提示画家身份，然似有涂抹痕迹。与院藏另一件边文进〈三友百禽〉相比，梅枝用笔略有相近之处，或许为时间相差不远的学仿者之作。此画整体承接宋代院画折枝花鸟的构图之趣以及优雅娴静气氛，与〈三友百禽〉所显示的喧闹气氛颇不相同，可丰富对明初宫廷花鸟画面貌的认识。",[7,23,209,24,1352,28,27,83,402,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242a8a95847e379f0a5854c0f83e0499.jpg","23.8x24.7cm",[90],{"id":15297,"slug":15298,"title":15299,"dynasty":189,"author":278,"museum":206,"description":15300,"tags":15301,"thumbUrl":15302,"material":409,"size":15303,"collection":328,"collections":15304,"showCount":15120,"zanCount":48,"manualWeight":48,"mainColor":94},214226,"jie-shu-qu-li-si-yu-yi-ming-214226","节书曲礼四语","节书曲礼四语是一首中国古代诗歌，出自元代的《全唐诗》。这首诗描写了四种不同的语言，分别是中文、汉语、维吾尔语和朝鲜语，并表示希望这些语言能够和谐相处，共同促进人类的文化交流。\n\n节书曲礼四语的具体内容如下：\n\n节书曲礼四语，和音精妙。\n中文汉语维吾尔，朝鲜语合唱。\n多少有知音，同声高谈。\n千言万语，和谐相处。\n\n这首诗倡导文化多样性，认为人类不同的语言是一种财富，应该尊重和保留。通过这首诗，作者希望人类能够像唱四语曲一样，和谐相处，共同促进文化交流。",[7,23,24,86,2570,173,263,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504b68b34acfe1381dc81ff64340b981.jpg","56.5x25.9",[328],{"id":15306,"slug":15307,"title":12110,"dynasty":18,"author":15308,"museum":206,"description":15309,"tags":15310,"thumbUrl":15311,"material":699,"size":15312,"collection":139,"collections":15313,"showCount":15314,"zanCount":1337,"manualWeight":48,"mainColor":94},232841,"chi-bi-tu-wu-yuan-zhi-232841","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[7,23,24,25,173,177,29,174,434,34,6868,1265,5957,557,37,1266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],92,{"id":15316,"slug":15317,"title":15318,"dynasty":99,"author":817,"museum":583,"description":15319,"tags":15320,"thumbUrl":15321,"material":699,"size":15322,"collection":139,"collections":15323,"showCount":15314,"zanCount":48,"manualWeight":48,"mainColor":255},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[7,23,24,25,173,177,29,175,34,176,109,178,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],{"id":15325,"slug":15326,"title":15327,"dynasty":18,"author":676,"museum":311,"description":15328,"tags":15329,"thumbUrl":15330,"material":139,"size":139,"collection":44,"collections":15331,"showCount":15314,"zanCount":48,"manualWeight":48,"mainColor":629},228895,"bai-miao-fo-xiang-di-san-zun-zhe-li-gong-lin-228895","白描佛像第三尊者","此作用笔兼具铁线之刚劲与游丝之柔韧，行云流水般勾勒出尊者清癯沧桑的风骨。眉峰微蹙垂目凝神，仿佛正于幽林静悟禅机，沉静淡然的禅意溢于眉眼之间。衣褶线条随体态利落转折，纱罗布料的垂坠轻薄之感呼之欲出，将静坐的松弛动态尽显。旁侧挺劲棕榈与层叠奇石，以淡墨轻擦晕染，寥寥数笔铺陈出空山幽寂的林下氛围。整幅以白描立骨，不施浓艳敷色，尽显素雅古拙的韵致，将禅家内敛沉静的气度融于笔墨，尽显清雅文人意趣。",[7,23,24,225,244,243,106,384,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b0cb0ff09215be2d518fb581eea61d.jpg",[44],{"id":15333,"slug":15334,"title":15335,"dynasty":99,"author":397,"museum":311,"description":15336,"tags":15337,"thumbUrl":15338,"material":139,"size":139,"collection":139,"collections":15339,"showCount":15314,"zanCount":48,"manualWeight":48,"mainColor":94},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[7,23,24,25,173,83,369,404,406,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],{"id":15341,"slug":15342,"title":15343,"dynasty":76,"author":336,"museum":206,"description":15344,"tags":15345,"thumbUrl":15346,"material":40,"size":15347,"collection":90,"collections":15348,"showCount":15314,"zanCount":48,"manualWeight":48,"mainColor":94},222755,"ba-jun-tu-lang-shi-ning-222755","八骏图","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[7,209,23,24,28,27,150,1322,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[90,45],{"id":15350,"slug":15351,"title":15352,"dynasty":76,"author":4192,"museum":78,"description":15353,"tags":15354,"thumbUrl":15355,"material":1116,"size":15356,"collection":181,"collections":15357,"showCount":15314,"zanCount":2209,"manualWeight":48,"mainColor":94},222611,"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[7,23,173,177,81,29,865,770,37,2961,1265,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纵24.4 厘米 横49.7 厘米",[181,163],{"id":15359,"slug":15360,"title":15361,"dynasty":99,"author":7174,"museum":56,"description":15362,"tags":15363,"thumbUrl":15364,"material":527,"size":15365,"collection":181,"collections":15366,"showCount":15314,"zanCount":48,"manualWeight":48,"mainColor":49},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[7,209,23,24,25,178,173,27,263,86,29,34,175,108,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[181,45],{"id":15368,"slug":15369,"title":15370,"dynasty":99,"author":2146,"museum":20,"description":4241,"tags":15371,"thumbUrl":15372,"material":20,"size":4244,"collection":44,"collections":15373,"showCount":15314,"zanCount":48,"manualWeight":48,"mainColor":94},222350,"wang-shu-gong-ji-tu-tang-yin-222350","王蜀宫妓图",[7,23,24,225,28,27,106,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185c945ec24f42176232f09a48815d.jpg",[44,45],{"id":15375,"slug":15376,"title":15377,"dynasty":18,"author":461,"museum":311,"description":4459,"tags":15378,"thumbUrl":15379,"material":27,"size":15380,"collection":42,"collections":15381,"showCount":15314,"zanCount":2209,"manualWeight":48,"mainColor":49},221431,"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕",[7,23,24,225,27,29,177,176,34,109,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[42,181,45],{"id":15383,"slug":15384,"title":15385,"dynasty":18,"author":676,"museum":20,"description":15386,"tags":15387,"thumbUrl":15388,"material":67,"size":15389,"collection":42,"collections":15390,"showCount":15314,"zanCount":2209,"manualWeight":48,"mainColor":49},221397,"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[7,209,23,24,25,105,244,150,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[42,44,163],{"id":15392,"slug":15393,"title":15394,"dynasty":18,"author":1677,"museum":20,"description":15395,"tags":15396,"thumbUrl":15397,"material":40,"size":15398,"collection":90,"collections":15399,"showCount":15314,"zanCount":48,"manualWeight":48,"mainColor":49},221185,"ju-lv-tu-ma-lin-221185","橘绿图","图中橘子由绿转黄，满压枝头。\n画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。\n橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。\n虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。",[7,23,209,24,1352,28,27,83,4950,853,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb517af2b4a5bcb26aab4781737446347.jpg","纵2cm，横2.5cm",[90,45],{"id":15401,"slug":15402,"title":15403,"dynasty":189,"author":645,"museum":20,"description":15404,"tags":15405,"thumbUrl":15406,"material":699,"size":15407,"collection":328,"collections":15408,"showCount":15314,"zanCount":1337,"manualWeight":48,"mainColor":94},220825,"wan-shou-qu-juan-zhao-meng-fu-220825","万寿曲卷","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。\n译文:闾阖初开。正苍苍曙色，天上春回。绛帻鸡人时报，禁漏频催。九奏钧天帝乐，御香惹，千官环珮。鸣鞘静，嵩岳三呼万岁，声震如雷。殊方异域尽来。满彤廷贡珍，皇化无外。日绕龙颜，云近绛阙蓬莱。四海欢欣鼓舞，圣德过，唐虞三代。年年宴，王母瑶池，紫霞长进琼杯。\n春满皇州。见祥烟拥日，初照龙楼。宫花苑柳，映仙仗云移，金鼎香浮。宝光生玉斧，听鸣凤，箫韶乐奏。德与和气游。天生圣人，千载希有。祥瑞电绕虹流。有云成五色，芝生三秀。四海泰平，致民物雍熙，朝野歌讴。千官齐拜舞，玉杯进，长生酒春（二字倒写）。愿皇庆万年，天子与天同寿。\n天上春风（此字点去）来。正阳和布泽，斗柄初回。一朵祥云捧日，万象生辉。帝德光昭四表，玉帛尽，梯航来会。彤廷敞，花覆千官，紫霄鹓鹭裵佪。仁风徧满九垓。望霓旌缓引，宝扇徐开。喜动龙颜，和气蔼然交泰。九奏箫韶舜乐，兽尊举，麒麟香叆。从今数，亿万斯年，圣主福如天大。\n瑞日当天。对绛阙蓬莱，非雾非烟。翠光覆禁苑，正淑景和（此字点去）芳妍。彩仗和风细转，御香飘满黄金殿。喜万国会朝，千官拜舞，亿兆同欢。福祉如山如川。应玉渚流虹，璇枢飞电。八音奏舜韶，庆玉烛调元。岁岁龙舆凤辇，九重春醉蟠桃宴。天下太平，祝吾皇，寿与天地齐年。臣孟頫。",[7,209,23,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37efe029da300c60a044e81cd8a85eee.jpg","27.5*144cm",[328],{"id":15410,"slug":15411,"title":15412,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":15413,"thumbUrl":15415,"material":699,"size":1533,"collection":139,"collections":15416,"showCount":15314,"zanCount":2209,"manualWeight":48,"mainColor":94},220025,"dong-zhuang-tu-ce-zhi-he-dong-shen-zhou-220025","东庄图册之鹤洞",[7,23,24,81,173,177,29,60,15414,109,34,176,2961,928],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae2436dfdae7b3a2935aef740291ff1.jpg",[],{"id":15418,"slug":15419,"title":15420,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":15421,"thumbUrl":15423,"material":88,"size":1533,"collection":139,"collection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212.2厘米",[181],{"id":15444,"slug":15445,"title":15446,"dynasty":99,"author":2146,"museum":311,"description":15447,"tags":15448,"thumbUrl":15449,"material":88,"size":15450,"collection":44,"collections":15451,"showCount":15314,"zanCount":2209,"manualWeight":48,"mainColor":94},215040,"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[7,23,24,25,28,27,106,175,29,34,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[44],{"id":15453,"slug":15454,"title":1462,"dynasty":76,"author":15455,"museum":56,"description":15456,"tags":15457,"thumbUrl":15458,"material":88,"size":15459,"collection":181,"collections":15460,"showCount":15314,"zanCount":2209,"manualWeight":48,"mainColor":94},214692,"shan-shui-tu-cha-shi-biao-214692","查士标","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[7,23,29,173,177,178,1322,31,33,106,151,34,174,1265,11241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[181],{"id":15462,"slug":15463,"title":15464,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":15465,"thumbUrl":15466,"material":699,"size":1567,"collection":139,"collections":15467,"showCount":15314,"zanCount":48,"manualWeight":48,"mainColor":49},214349,"san-jue-shan-shui-ce-8-hua-yan-214349","三绝山水册-8",[7,23,173,27,177,81,29,175,108,34,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ff06b8f3beab62344a0d21f610c76c.jpg",[],{"id":15469,"slug":15470,"title":15471,"dynasty":189,"author":1988,"museum":311,"description":15472,"tags":15473,"thumbUrl":15474,"material":2164,"size":2165,"collection":139,"collections":15475,"showCount":15476,"zanCount":2209,"manualWeight":48,"mainColor":94},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[7,23,24,25,173,177,178,263,86,29,403,402,174,106,34,109,229,175,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],91,{"id":15478,"slug":15479,"title":15480,"dynasty":54,"author":15481,"museum":311,"description":15482,"tags":15483,"thumbUrl":15484,"material":139,"size":139,"collection":139,"collections":15485,"showCount":15476,"zanCount":1337,"manualWeight":48,"mainColor":49},232623,"wan-song-qiu-lin-tu-quan-juan-zhang-zao-232623","万松秋林图全卷","张璪","论画山水树石》中说到“山水之变，始于吴，成于二李”之后，紧接着便说“树石之状，妙于韦偃，穷于张通(张璪)”。在唐人心目中，张璪的画还是高于王维等人的。张璪作画喜用紫毫秃笔，属于吴道子型激情一派画家，他往往秃笔抹写，画至得意处，忘乎所已。干脆以手醮色，挥涂起来，久而久之，形成习惯，乃至于发展为王默的“脚蹙手抹”。后世的指画当受其影响。\n张璪的山水画另一大特色就是以墨为主，不贵五彩。荆浩《笔法记》云“张藻员外树石，气韵俱盛，笔墨积微，真思卓然，不贵五彩，旷古绝今，未之有也。”这种“不贵五彩”、“笔墨积微”水墨画法在绘画技法上是一个极大的突破。",[7,209,23,24,25,173,27,177,29,403,5613,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33524bed7f62604513b963bc367865.jpg",[],{"id":15487,"slug":15488,"title":15489,"dynasty":99,"author":100,"museum":311,"description":15490,"tags":15491,"thumbUrl":15492,"material":139,"size":139,"collection":139,"collections":15493,"showCount":15476,"zanCount":48,"manualWeight":48,"mainColor":49},228385,"shang-lin-tu-juan-si-ren-shou-cang-chou-ying-228385","上林图卷（私人收藏）","《明仇英上林图卷》由明朝画家仇英绘画。\n仇英《上林图卷》画意取自西汉司马相如的名篇《上林赋》，描写了汉武帝时的皇家园囿“上林苑”的美景，以及汉武帝与群臣狩猎时的壮观景象。\n【名称】明仇英上林图卷 【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[7,28,26,27,25,29,107,106,34,176,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":15495,"slug":15496,"title":2050,"dynasty":76,"author":803,"museum":20,"description":8555,"tags":15497,"thumbUrl":15498,"material":15499,"size":8558,"collection":90,"collections":15500,"showCount":15476,"zanCount":2209,"manualWeight":48,"mainColor":94},223238,"he-hua-yuan-yang-tu-ren-yi-223238",[7,23,27,83,136,2053,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748a198151e8ce689be26e752c960fdc.jpg","绢本、设色",[90,45],{"id":15502,"slug":15503,"title":15504,"dynasty":76,"author":10456,"museum":311,"description":15505,"tags":15506,"thumbUrl":15507,"material":139,"size":15508,"collection":139,"collections":15509,"showCount":15476,"zanCount":2209,"manualWeight":48,"mainColor":94},222800,"zhuan-shu-xin-jing-deng-shi-ru-222800","篆书心经","书法上极有创意。取法李阳冰铁线篆，其中又有以隶笔作篆的意味，笔力遒练，体势沉着，是他传世墨迹中的代表作。\n释文:观自在菩萨，行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色。色即是空，空即是色。受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界，无无明，亦无无明尽，乃至无老死，亦无老死盡。无苦集滅道，无智亦无得，以无所得故。菩提薩埵，依般若波罗蜜多故，心无罣礙，无罣礙故，无有恐怖，远离颠倒梦想，究竟涅槃。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒。即说咒曰：揭諦揭諦，波罗揭諦，波罗僧揭諦，菩提萨婆訶。般多心経。嘉庆龙飞九年，岁在逢困敦十有一月，丙戌朔粤十有八日癸卯。古皖邓石如篆。",[7,86,1163,5152,243,25,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaacba25735befff5d1b956c05f59017.jpg","单字宽约2厘米",[],{"id":15511,"slug":15512,"title":15513,"dynasty":76,"author":336,"museum":206,"description":10745,"tags":15514,"thumbUrl":15518,"material":573,"size":10749,"collection":181,"collections":15519,"showCount":15476,"zanCount":2209,"manualWeight":48,"mainColor":94},222768,"shi-er-yue-ling-tu-9-yue-lang-shi-ning-222768","十二月令图（9月）",[7,23,28,27,1078,15515,106,107,115,29,34,15516,15517],"时令图","赏菊","消闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4765ff320188bb74abd93a15b392fe.jpg",[181,45],{"id":15521,"slug":15522,"title":15523,"dynasty":99,"author":100,"museum":1666,"description":15524,"tags":15525,"thumbUrl":15526,"material":40,"size":15527,"collection":181,"collections":15528,"showCount":15476,"zanCount":48,"manualWeight":48,"mainColor":49},222207,"liu-yuan-ren-xing-shan-shui-tu-chou-ying-222207","柳园人形山水图","柳园里建筑整齐划一，假山和房屋非常考究，屋内三三两两侃侃而谈。运用点缀法，在灌木上点上白色，以示花开。仇英，明代画家，与唐寅、文征明、沈周并称“明四家”。",[7,23,28,27,104,29,107,106,866,384,114,1646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[181,45],{"id":15530,"slug":15531,"title":15532,"dynasty":18,"author":1395,"museum":206,"description":15533,"tags":15534,"thumbUrl":15535,"material":67,"size":15536,"collection":42,"collections":15537,"showCount":15476,"zanCount":1314,"manualWeight":48,"mainColor":49},221579,"zhi-ai-tu-li-tang-221579","炙艾图","《炙艾图》，又叫做《村医图》，是南宋著名画家李唐的传世作品;收藏于台北故宫博物院。《村医图》为一幅风俗人物画，描述走方郎中为村民治病的情形。作品通过对灸艾治疗这一紧张情节的朴实无华的具体描绘，反映了当时农民的困苦生活，有小中见大的寓意。\n《炙艾图》除了真实的记录一名中国古代村医用中医灸法为病人治病的情景 ，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[7,209,23,24,28,27,106,865,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[42,44,45],{"id":15539,"slug":15540,"title":15541,"dynasty":18,"author":1419,"museum":206,"description":15542,"tags":15543,"thumbUrl":15544,"material":573,"size":15545,"collection":42,"collections":15546,"showCount":15476,"zanCount":48,"manualWeight":48,"mainColor":49},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[7,23,24,225,27,104,28,29,107,106,1365,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[42,181,163],{"id":15548,"slug":15549,"title":15550,"dynasty":54,"author":8524,"museum":20,"description":15551,"tags":15552,"thumbUrl":15553,"material":67,"size":15554,"collection":181,"collections":15555,"showCount":15476,"zanCount":48,"manualWeight":48,"mainColor":49},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[7,23,24,81,27,28,29,107,108,384,1775,106,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[181,45],{"id":15557,"slug":15558,"title":15559,"dynasty":54,"author":15560,"museum":20,"description":15561,"tags":15562,"thumbUrl":15563,"material":15564,"size":15565,"collection":328,"collections":15566,"showCount":15476,"zanCount":48,"manualWeight":48,"mainColor":629},221086,"lan-ting-ba-zhu-tie-xun-ce-liu-gong-quan-221086","兰亭八柱帖 （巽）册","柳公权","蘭亭八柱乃圓明園遺物，於1910年（宣統二年）被移到頤和園，後置於耶律楚材祠中。1915 年，江朝宗致函溥儀內務府，請求拉運圓明園蘭亭碑及山石，以供社稷壇開拓公園之用。其後，蘭亭碑及八根石柱，分別於1917年前和1941年之後運至中山公園，直到1971年，始用八根石柱，在唐花塢西側新建成重檐八角亭，額曰“景自天成”。八根石柱之蘭亭帖，多有風化，半數帖尚好，仍可辨讀。",[7,86,620,178,263,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44df0257493edfb5c629ea00d305fe6d.jpg","初拓本","每开纵29.8厘米，横34.2厘米",[328,2097],{"id":15568,"slug":15569,"title":15570,"dynasty":949,"author":3807,"museum":3808,"description":15571,"tags":15572,"thumbUrl":15573,"material":139,"size":139,"collection":139,"collections":15574,"showCount":15476,"zanCount":48,"manualWeight":48,"mainColor":94},220530,"shuang-mao-xu-bei-hong-220530","双猫","幽蓝繁枝澹叶垂落，晕开清寂雅致的底色。两只狸奴静踞石上，一醒一眠相映成趣。左侧玄纹花猫抬眸平视，蓬松绒毛以淡墨晕染留白，将软绒质感描摹入微，神情警觉又暗含温驯灵动。右侧花斑小猫蜷身假寐，柔润笔触晕出慵懒憨态。\n\n下方顽石以泼墨写意而成，枯涩苍劲的笔墨衬出朴拙厚重，与猫的柔润形成鲜明刚柔对照。整幅画作融中西技法，以写实造型捕捉生灵鲜活意态，又以文人水墨营造幽澹氛围，将闲庭猫趣定格纸面，尽显悠然松弛的闲适意韵。",[7,209,23,24,225,173,27,400,807,384,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12e40cf83c19d7df05c2ff1a576a69e.jpg",[],{"id":15576,"slug":15577,"title":15578,"dynasty":99,"author":15579,"museum":222,"description":15580,"tags":15581,"thumbUrl":15582,"material":123,"size":15583,"collection":44,"collections":15584,"showCount":15476,"zanCount":1314,"manualWeight":48,"mainColor":49},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[7,23,24,25,29,27,177,106,108,109,174,1542,107,34,176,6005,770,37,11547,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[44,45],{"id":15586,"slug":15587,"title":15588,"dynasty":76,"author":963,"museum":311,"description":15589,"tags":15590,"thumbUrl":15591,"material":88,"size":15592,"collection":181,"collections":15593,"showCount":15476,"zanCount":1337,"manualWeight":48,"mainColor":94},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[7,23,24,225,173,27,29,229,1365,434,37,1265,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg","纵46.5cm，横30.7cm",[181],{"id":15595,"slug":15596,"title":15597,"dynasty":99,"author":2242,"museum":20,"description":15598,"tags":15599,"thumbUrl":15600,"material":409,"size":15601,"collection":181,"collections":15602,"showCount":15476,"zanCount":1337,"manualWeight":48,"mainColor":94},220110,"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","陈氏以写意花卉享誉画坛，与徐谓并称“青藤白阳”，传世山水作品并不多见，此作显示出他在山水画方面别有一番造诣。图中近景绘平坡古树，树下一人翘首远眺，远景高岩耸立，秀木成林，烟云缭绕，掩映着溪流的尽头。画家用笔写意韵味很浓，笔迹放纵老到，淋漓疏爽，细看似乎笔笔皆不经意，纵览全幅却是结构严密，墨色轻重有别，虚实得当。画面中清雅空幽、萧散闲逸的意境流露出来自文氏门下的师承传统。",[7,23,24,225,173,177,29,384,1365,108,109,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[181,163],{"id":15604,"slug":15605,"title":15606,"dynasty":76,"author":15607,"museum":20,"description":15608,"tags":15609,"thumbUrl":15610,"material":123,"size":15611,"collection":90,"collections":15612,"showCount":15476,"zanCount":2209,"manualWeight":48,"mainColor":94},219221,"duan-yang-jing-tu-yu-zhi-219221","端阳景图","余穉","本图借助对动植物的描绘来体现端阳时节大地回暖的场景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等植物在春光中跳跃、飞翔，一派生机盎然的欢悦景象。此图是作者任职宫廷之后所作，线条工细、匀整、流畅，设色淡雅富丽并充满装饰性。动植物造型精确且充满生趣，显示出作者较强的写实手法。",[7,23,28,27,83,84,928,7874,696,808,940,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee229c4c1e5619fb234c345e8e4f6d14.jpg","纵137.3厘米，横68.8厘米",[90],{"id":15614,"slug":15615,"title":6694,"dynasty":99,"author":100,"museum":447,"description":15616,"tags":15617,"thumbUrl":15618,"material":123,"size":15619,"collection":44,"collections":15620,"showCount":15476,"zanCount":48,"manualWeight":48,"mainColor":49},218359,"luo-han-tu-chou-ying-218359","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[7,25,28,27,104,243,106,2279,282,107,808,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[44],{"id":15622,"slug":15623,"title":15624,"dynasty":189,"author":278,"museum":206,"description":15625,"tags":15626,"thumbUrl":15627,"material":123,"size":15628,"collection":90,"collections":15629,"showCount":15476,"zanCount":48,"manualWeight":48,"mainColor":94},215139,"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[7,23,24,1352,28,27,83,9248,369,1906,853,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[90],{"id":15631,"slug":15632,"title":15633,"dynasty":76,"author":2525,"museum":311,"description":15634,"tags":15635,"thumbUrl":15636,"material":139,"size":139,"collection":139,"collections":15637,"showCount":15638,"zanCount":1337,"manualWeight":48,"mainColor":49},228927,"bai-tou-rong-gui-tu-li-zhou-m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创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[7,23,173,177,225,29,174,15644,865,866,176,1265,2310,34,15645],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],{"id":15649,"slug":15650,"title":15651,"dynasty":18,"author":1677,"museum":311,"description":15652,"tags":15653,"thumbUrl":15654,"material":139,"size":139,"collection":139,"collections":15655,"showCount":15638,"zanCount":48,"manualWeight":48,"mainColor":94},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","行到水穷处，坐看云起时。",[7,23,209,24,173,27,29,177,176,34,2279,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],{"id":15657,"slug":15658,"title":15659,"dynasty":18,"author":5878,"museum":311,"description":15660,"tags":15661,"thumbUrl":15663,"material":139,"size":139,"collection":139,"collections":15664,"showCount":15638,"zanCount":1337,"manualWeight":48,"mainColor":49},227509,"zhuang-jing-shi-nv-tu-su-han-chen-227509","妆靓仕女图","《妆靓仕女图》是宋代画家苏汉臣创作的一幅绢本扇面画。",[7,209,23,24,1352,27,28,106,59,1205,406,300,15662,3830],"妆饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e31d25805d2c3d737c9b6538502ea6.jpg",[],{"id":15666,"slug":15667,"title":5491,"dynasty":76,"author":1929,"museum":311,"description":15668,"tags":15669,"thumbUrl":15670,"material":139,"size":139,"collection":139,"collections":15671,"showCount":15638,"zanCount":48,"manualWeight":48,"mainColor":94},224332,"he-hua-tu-zhou-li-shan-224332","这幅作品以书入画，诗墨相融。狂放苍劲的题笔沿边排布，与水墨荷塘相映成趣。荷叶以泼墨晕染，浓淡干湿间尽显酣畅野逸，墨色沉凝处如积雨重碧，浅淡处似晓露初歇。花瓣以淡墨轻勾，含露亭亭，在浓墨荷叶的衬托下愈显清柔雅致。\n笔线纵恣写意，荷梗挺拔舒展，卷叶、莲蓬错落点缀，虚实相生间晕开荷塘清寂又蓬勃的生机。整幅将物象风神与文人意趣交织，以大写意笔法把荷塘逸态与胸中意气相融，尽显疏朗狂逸的格调，是性情与笔墨共生的绝佳范本。",[7,23,24,225,173,400,178,263,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":15673,"slug":15674,"title":15675,"dynasty":76,"author":1963,"museum":56,"description":1964,"tags":15676,"thumbUrl":15680,"material":1972,"size":1973,"collection":139,"collections":15681,"showCount":15638,"zanCount":2209,"manualWeight":48,"mainColor":49},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[7,209,23,25,27,28,29,265,15677,7258,15678,107,108,109,15679,110,106,120,34,176,117],"村镇","古建","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],{"id":15683,"slug":15684,"title":15685,"dynasty":99,"author":2146,"museum":1279,"description":15686,"tags":15687,"thumbUrl":15688,"material":40,"size":15689,"collection":139,"collections":15690,"showCount":15638,"zanCount":1337,"manualWeight":48,"mainColor":49},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[7,23,173,27,177,225,1365,106,150,176,557,34,1422,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 横：72.5cm。",[],{"id":15692,"slug":15693,"title":15694,"dynasty":18,"author":886,"museum":5452,"description":15695,"tags":15696,"thumbUrl":15697,"material":3518,"size":15698,"collection":42,"collections":15699,"showCount":15638,"zanCount":48,"manualWeight":48,"mainColor":49},221459,"mo-long-juan-chen-rong-221459","墨龙卷","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[7,23,173,25,433,2279,282,400,2568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","185.8厘米×106.1厘米",[42,90,163],{"id":15701,"slug":15702,"title":15703,"dynasty":18,"author":8191,"museum":20,"description":15704,"tags":15705,"thumbUrl":15706,"material":40,"size":15707,"collection":42,"collections":15708,"showCount":15638,"zanCount":2209,"manualWeight":48,"mainColor":49},221455,"si-yang-tu-chen-ju-zhong-221455","四羊图","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[7,23,209,28,27,6545,808,865,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[42,90,45],{"id":15710,"slug":15711,"title":15712,"dynasty":76,"author":77,"museum":20,"description":15713,"tags":15714,"thumbUrl":15715,"material":841,"size":15716,"collection":181,"collections":15717,"showCount":15638,"zanCount":48,"manualWeight":48,"mainColor":94},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[7,23,24,81,173,27,29,107,108,174,266,34,176,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[181,163],{"id":15719,"slug":15720,"title":15721,"dynasty":76,"author":77,"museum":206,"description":15722,"tags":15723,"thumbUrl":15724,"material":699,"size":15725,"collection":181,"collections":15726,"showCount":15638,"zanCount":2209,"manualWeight":48,"mainColor":94},220971,"fang-ni-zan-gu-mu-cong-huang-tu-yun-shou-ping-220971","仿倪瓒古木丛篁图","《仿倪瓒古木丛篁图》仿倪瓒遗意，画古木平泉，丛篁积翠。技法上，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。构图简洁，画面丰富，为倪瓒作画特色。",[7,23,24,225,173,177,105,866,226,229,1423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[181,163],{"id":15728,"slug":15729,"title":15730,"dynasty":189,"author":767,"museum":206,"description":15731,"tags":15732,"thumbUrl":15733,"material":88,"size":15734,"collection":181,"collections":15735,"showCount":15638,"zanCount":2209,"manualWeight":48,"mainColor":49},220819,"ju-qu-lin-wu-tu-wang-meng-220819","具区林屋图","此幅画面的右上角有王蒙以隶书题的“具曲林屋”四个字，底下署“叔明为日章画”，具区是古时太湖的旧称。\n王蒙截取太湖山中极小的一块区域，提炼加工，组织而成这幅极富生活情趣的画面：右下方一坡角，数株大树并列生於其间，林下有高士临水而坐，好像正欣赏著眼前的美景。水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人独坐其间看书；山间小路迂回，曲径通幽，数栋屋宇参差错落於山谷之中，有妇女活动其间。\n图中山石用“牛毛皴”与“解索皴”干笔皴擦而成，多曲折旋转之笔，以突显出太湖一带山石特有的质感；树叶则用墨与色直接点染而成，丹崖碧树，一派秋日山水景象。\n该画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。\n全图除了溪流之外，几乎被山石、树木、林间茅舍填充的没有空隙，这种饱满的构图方式在中国古代绘画作品中极为罕见，开辟出国画构图之奇境。",[7,209,23,1218,4472,27,177,29,558,34,2137,35,107,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecaeed00379af6afdfac3af833b2d69.jpg","68.7 x 42.5cm",[181,45],{"id":15737,"slug":15738,"title":15739,"dynasty":189,"author":1539,"museum":20,"description":15740,"tags":15741,"thumbUrl":15743,"material":67,"size":15744,"collection":181,"collections":15745,"showCount":15638,"zanCount":2209,"manualWeight":48,"mainColor":49},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[7,23,24,225,173,177,263,174,1542,15742,266,29],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[181,163],{"id":15747,"slug":15748,"title":15749,"dynasty":189,"author":1539,"museum":15750,"description":15751,"tags":15752,"thumbUrl":15754,"material":409,"size":15755,"collection":181,"collections":15756,"showCount":15638,"zanCount":2209,"manualWeight":48,"mainColor":49},219974,"song-quan-tu-wu-zhen-219974","松泉图","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[7,23,24,225,173,177,29,1365,15753,176,86,263],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","105.3厘米 横31.7厘米",[181],{"id":15758,"slug":15759,"title":15760,"dynasty":99,"author":5372,"museum":20,"description":15761,"tags":15762,"thumbUrl":15763,"material":409,"size":15764,"collection":90,"collections":15765,"showCount":15638,"zanCount":48,"manualWeight":48,"mainColor":255},218770,"mao-die-tu-sun-ke-hong-218770","耄耋图","此图是幅寓意画。图绘一猫仰头注目空中飞蝶，意欲捕捉的生动瞬间。猫蝶即耄耋的谐音，古代人生八十称耄，九十称耋，寓长寿之意。本幅构图简洁，无任何背景衬托，蝶与猫构成一上一下、一动一静的对比，别有情趣。猫以墨彩重写，又以粗毫勾其毛发，造型准确生动。蝶以水墨绘出，勾染结合，着笔简约传神。此为作者墨笔粗简一路画风的代表作。",[7,23,173,807,512,400,225,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67f1548430697540b035cee22f8e29a.jpg","纵139.5厘米，横47厘米",[90],{"id":15767,"slug":15768,"title":15769,"dynasty":18,"author":15770,"museum":206,"description":15771,"tags":15772,"thumbUrl":15773,"material":123,"size":139,"collection":181,"collections":15774,"showCount":15638,"zanCount":1337,"manualWeight":48,"mainColor":94},218677,"xi-hu-shi-jing-tu-lei-feng-xi-zhao-ye-xiao-yan-218677","西湖十景图-雷峰夕照","叶肖岩","山峦晕染着暮色的暖调，古塔静立在层岩之上，夕照的金辉轻覆于林梢与塔檐，晕开朦胧的暖意。近处松枝虬劲，山石皴擦细腻；远处峰峦隐入淡墨，虚实间藏着江南的温婉。左侧墨笔题跋的线条与山水肌理相映，文辞与画意交织，将西湖黄昏的悠然意趣凝于尺幅。苍劲与柔婉并存，写实与写意相融，尽显雷峰夕照的静谧深远——仿佛晚风掠过塔铃轻响，时光沉淀的诗意在笔墨间缓缓流淌，让观者窥见千年西湖黄昏的温婉与悠长。",[7,23,24,81,27,29,3620,107,86,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6bfc3fb9153780220775dfbeb9338f.jpg",[181],{"id":15776,"slug":15777,"title":15778,"dynasty":76,"author":7940,"museum":20,"description":15779,"tags":15780,"thumbUrl":15781,"material":409,"size":15782,"collection":181,"collections":15783,"showCount":15638,"zanCount":2209,"manualWeight":48,"mainColor":94},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[7,23,24,225,173,177,29,106,1365,466,176,114,109,866,606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[181],{"id":15785,"slug":15786,"title":15787,"dynasty":99,"author":14621,"museum":206,"description":15788,"tags":15789,"thumbUrl":15790,"material":409,"size":15791,"collection":328,"collections":15792,"showCount":15638,"zanCount":48,"manualWeight":48,"mainColor":94},214227,"shang-lin-dong-nuan-shi-zhu-zhan-ji-214227","上林冬暖诗","上林冬暖是一首中国古代诗歌，作者是朱瞻基。这首诗描述了冬季的上林园林，表达了作者对自然美景的喜爱。\n\n上林冬暖是一首七言绝句，共有七句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了作者对冬季上林园林的深深的喜爱。\n\n上林冬暖诗的具体内容如下：\n上林冬暖，玉树乱花。\n池边莲叶，夜来香。\n山间小道，草色浅浅。\n山间鸟鸣，绿荫苍苍。\n\n这首诗通过描述上林冬季的美景来表达作者对自然的热爱。在这首诗中，朱瞻基描述了上林园林在冬季里的温暖和美丽，并表达了对自然的感悟和体会。",[7,99,24,86,178,27,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed13e6102b654ac4127e0fce5854a6b3.jpg","47.3x23.9",[328],{"id":15794,"slug":15795,"title":15796,"dynasty":18,"author":7741,"museum":206,"description":15797,"tags":15798,"thumbUrl":15799,"material":2164,"size":15800,"collection":139,"collections":15801,"showCount":15802,"zanCount":48,"manualWeight":48,"mainColor":49},288949,"xi-shan-lou-guan-tu-yan-wen-gui-288949","溪山楼观图","《溪山楼观图》是一件立轴作品，代表北宋初全景式山水的典型。此图绘高远、深远景色，溪山重叠，自下而上，自近及远，繁复细密。在险峻的峰峦之中，显现出雄伟壮观的楼观殿宇，山崖下水榭回廊与水波浩渺的江面互相映衬，加上陡峭的山势与艰险的山径，使此画的境界雄浑沉秀，繁中见清。笔法尖劲峭丽，山石皴中有染，精细工整，是“燕家景致”的典型范例。",[7,209,23,24,173,29,107,176,34,109,177,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e79de6733f981b2ebaba4b9f3bceaa7.jpg","103.9x47.4",[],89,{"id":15804,"slug":15805,"title":15806,"dynasty":76,"author":15807,"museum":311,"description":15808,"tags":15809,"thumbUrl":15810,"material":2164,"size":2165,"collection":139,"collections":15811,"showCount":15802,"zanCount":1337,"manualWeight":48,"mainColor":94},230292,"zhao-meng-fu-da-shi-zan-ai-xin-jue-luo-yong-xing-230292","赵孟頫大士赞","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[7,86,621,263,24,25,243,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239d73cbdf3045fafccec73a08a508ad.jpg",[],{"id":15813,"slug":15814,"title":15815,"dynasty":99,"author":170,"museum":311,"description":15816,"tags":15817,"thumbUrl":15818,"material":2164,"size":2165,"collection":139,"collections":15819,"showCount":15802,"zanCount":2209,"manualWeight":48,"mainColor":94},228828,"wo-you-tu-ce-shen-zhou-228828","卧游图册","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。",[7,23,24,81,173,27,29,83,226,385,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],{"id":15821,"slug":15822,"title":15823,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":15824,"thumbUrl":15825,"material":27,"size":1608,"collection":139,"collections":15826,"showCount":15802,"zanCount":1104,"manualWeight":48,"mainColor":94},222747,"xian-e-chang-chun-tu-05a-lang-shi-ning-222747","仙萼长春图-05a",[7,23,28,27,83,84,784,3226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed7da96ce0c7b5d28a9d61f8f6ce6aa.jpg",[],{"id":15828,"slug":15829,"title":3907,"dynasty":76,"author":15830,"museum":523,"description":15831,"tags":15832,"thumbUrl":15833,"material":40,"size":15834,"collection":90,"collections":15835,"showCount":15802,"zanCount":2209,"manualWeight":48,"mainColor":49},222687,"mu-dan-tu-zhou-chen-zhuo-222687","陈卓","绘盛开牡丹数朵，姹紫嫣红，花瓣层层叠叠，绿叶繁茂；湖石立于花中，灰黑的颜色让花儿更加娇艳。图中的牡丹为典型的没骨画法。陈卓，字中立，清代画家，擅绘青绿山水，喜作青绿设色，兼工花鸟、人物。",[7,23,24,225,28,27,369,176,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3a743980de113f98a6c8a0a9babb69.jpg","149x68cm",[90,45],{"id":15837,"slug":15838,"title":15839,"dynasty":76,"author":3223,"museum":583,"description":3224,"tags":15840,"thumbUrl":15842,"material":67,"size":3228,"collection":139,"collections":15843,"showCount":15802,"zanCount":1104,"manualWeight":48,"mainColor":94},222681,"si-ji-hua-niao-tu-ping-4-chen-mei-222681","四季花鸟图屏4",[7,28,27,83,370,15841,3226,6025,658],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215e604db490f4a6381ab7f2e744c172.jpg",[],{"id":15845,"slug":15846,"title":15847,"dynasty":99,"author":170,"museum":20,"description":15848,"tags":15849,"thumbUrl":15850,"material":841,"size":15851,"collection":181,"collections":15852,"showCount":15802,"zanCount":1337,"manualWeight":48,"mainColor":94},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[7,23,173,177,27,29,34,4272,264,3024,109,558,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[181,163],{"id":15854,"slug":15855,"title":15856,"dynasty":189,"author":13201,"museum":206,"description":15857,"tags":15858,"thumbUrl":15859,"material":712,"size":15860,"collection":163,"collections":15861,"showCount":15802,"zanCount":2209,"manualWeight":48,"mainColor":49},221762,"quan-shi-xin-huang-tu-gu-an-221762","拳石新篁图","《拳石新篁图》写新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。",[7,23,464,225,86,178,263,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1abfe83cffc1cff26cbc173920a8abd.jpg","纵76厘米，横40厘米",[163,1896],{"id":15863,"slug":15864,"title":15865,"dynasty":18,"author":708,"museum":101,"description":10109,"tags":15866,"thumbUrl":15867,"material":12922,"size":15868,"collection":42,"collections":15869,"showCount":15802,"zanCount":48,"manualWeight":48,"mainColor":94},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷",[7,23,24,25,173,177,29,174,3019,384,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","29.3x376",[42,181,163],{"id":15871,"slug":15872,"title":15873,"dynasty":54,"author":278,"museum":311,"description":15874,"tags":15875,"thumbUrl":15876,"material":139,"size":139,"collection":44,"collections":15877,"showCount":15802,"zanCount":1337,"manualWeight":48,"mainColor":94},221132,"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[7,23,24,209,538,105,244,27,28,106,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[44,45],{"id":15879,"slug":15880,"title":15881,"dynasty":189,"author":645,"museum":101,"description":15882,"tags":15883,"thumbUrl":15884,"material":699,"size":15885,"collection":44,"collections":15886,"showCount":15802,"zanCount":2209,"manualWeight":48,"mainColor":49},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[7,23,24,25,27,28,86,178,106,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 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任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 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第三石的尺寸极可能长74厘米，宽43厘米",[328,2097],{"id":16039,"slug":16040,"title":16041,"dynasty":99,"author":2494,"museum":20,"description":16042,"tags":16043,"thumbUrl":16045,"material":9524,"size":16046,"collection":181,"collections":16047,"showCount":15936,"zanCount":2209,"manualWeight":48,"mainColor":94},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[7,23,24,225,173,29,34,176,177,178,1647,1265,736,865,16044,557,86],"坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纵89.5厘米，横51.6厘米",[181,163],{"id":16049,"slug":16050,"title":16051,"dynasty":949,"author":3807,"museum":3808,"description":16052,"tags":16053,"thumbUrl":16054,"material":139,"size":139,"collection":139,"collections":16055,"showCount":15936,"zanCount":48,"manualWeight":48,"mainColor":94},220574,"feng-yu-ji-ming-xu-bei-hong-220574","风雨鸡鸣","滂沱风雨被晕染在冷灰底色中，危岩之上雄鸡振羽昂首，丹红鸡冠如炬，刺破漫天雨幕。它利爪紧扣嶙峋石峰，尾羽怒张，长啼似欲穿破阴霾，将不屈意气倾泻而出。\n\n左侧墨竹在狂风里倾伏翻卷，枝叶乱颤，更衬出雄鸡卓然独立的身姿。整幅画以水墨干湿浓淡铺就氛围，将乱世之中的沉郁压抑与志士觉醒的炽热力量相融，以禽竹山石托物言志，把不屈的民族气节藏在笔锋之下，满纸皆是冲破黑暗的激昂心气。",[7,23,173,27,225,400,83,2801,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30e5ae80b9dd47726b0e88ad80cc9dd.jpg",[],{"id":16057,"slug":16058,"title":16059,"dynasty":204,"author":2585,"museum":12728,"description":14452,"tags":16060,"thumbUrl":16061,"material":327,"size":16062,"collection":181,"collections":16063,"showCount":15936,"zanCount":2209,"manualWeight":48,"mainColor":49},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[7,209,23,24,25,173,29,37,468,34,557,174,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[181],{"id":16065,"slug":16066,"title":16067,"dynasty":99,"author":1362,"museum":20,"description":16068,"tags":16069,"thumbUrl":16070,"material":88,"size":16071,"collection":181,"collections":16072,"showCount":15936,"zanCount":1337,"manualWeight":48,"mainColor":94},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[7,23,24,25,29,175,34,176,27,2352,114,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[181,328],{"id":16074,"slug":16075,"title":16076,"dynasty":76,"author":3827,"museum":20,"description":16077,"tags":16078,"thumbUrl":16079,"material":88,"size":16080,"collection":44,"collections":16081,"showCount":15936,"zanCount":1337,"manualWeight":48,"mainColor":94},219223,"er-tong-dou-cao-tu-jin-ting-biao-219223","儿童斗草图","此图表现的是端午节儿童们斗草的游戏。有的以比赛采得的花草作对，这是文斗；有的把叶柄相勾拉拽，也称“拔根儿”，就是武斗。",[7,209,23,24,225,28,27,106,1322,283,386,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f548edff091b9ba461b027bf11c428.jpg","纵105.3厘米，横79.5厘米",[44],{"id":16083,"slug":16084,"title":16085,"dynasty":99,"author":1362,"museum":20,"description":16086,"tags":16087,"thumbUrl":16088,"material":123,"size":16089,"collection":181,"collections":16090,"showCount":15936,"zanCount":2209,"manualWeight":48,"mainColor":94},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[7,23,24,25,27,28,29,178,106,175,109,34,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[181],{"id":16092,"slug":16093,"title":16094,"dynasty":54,"author":16095,"museum":206,"description":16096,"tags":16097,"thumbUrl":16098,"material":409,"size":16099,"collection":163,"collections":16100,"showCount":15936,"zanCount":48,"manualWeight":48,"mainColor":94},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[7,23,24,25,173,177,86,178,263,29,3341,34,176,109,175,229,108,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[163],{"id":16102,"slug":16103,"title":16104,"dynasty":5401,"author":278,"museum":16105,"description":16106,"tags":16107,"thumbUrl":16108,"material":409,"size":16109,"collection":139,"collections":16110,"showCount":15936,"zanCount":1337,"manualWeight":48,"mainColor":49},214203,"yuan-an-bei-yi-ming-214203","袁安碑","河南博物院","此碑结体宽博，笔势强健道劲，骨力劲拔而有弹性，使书法厚重而雄浑。",[7,1163,620,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6140336930b89ef5dfd4cc47c02862e2.jpg","150x79",[],{"id":16112,"slug":16113,"title":16114,"dynasty":277,"author":16115,"museum":311,"description":16116,"tags":16117,"thumbUrl":16118,"material":2164,"size":2165,"collection":139,"collections":16119,"showCount":16120,"zanCount":2209,"manualWeight":48,"mainColor":49},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[7,23,299,83,28,27,403,369,404,60,4451,297,266,29,558,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],87,{"id":16122,"slug":16123,"title":16124,"dynasty":1483,"author":3526,"museum":311,"description":4379,"tags":16125,"thumbUrl":16127,"material":2164,"size":2165,"collection":139,"collections":16128,"showCount":16120,"zanCount":2209,"manualWeight":48,"mainColor":49},288119,"lan-ting-ji-shang-juan-wang-xi-zhi-288119","兰亭记上卷",[7,25,620,86,178,106,7226,1640,1269,109,16126,622],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fd561b9dece26b1983d27bca1e7e14.jpg",[],{"id":16130,"slug":16131,"title":16132,"dynasty":189,"author":645,"museum":20,"description":16133,"tags":16134,"thumbUrl":16135,"material":621,"size":16136,"collection":328,"collections":16137,"showCount":16120,"zanCount":1337,"manualWeight":48,"mainColor":94},239685,"di-shi-dan-ba-bei-juan-zhao-meng-fu-239685","帝师胆巴碑卷","内容为记述帝师胆巴生平事迹，是赵孟頫奉元仁宗敕命书写的碑文。胆巴是元代前期僧人，西番突甘斯旦麻人，元世祖时被封为国师，元仁宗皇庆间，追号大觉普慈广照无上胆巴帝师。此卷书于延祐三年(1316)，书法点画顾盼有致，用笔遒美峻拔，为晚年碑书之笔。\n卷后有清姚元之、杨岘、李鸿裔、潘祖荫、王颂蔚、王懿荣、盛昱、杨守敬题跋，并钤有许乃普、叶恭绰等收藏印记。《南阳法书表》、《式古堂书画汇考》、《壬寅销夏录》、《三虞堂书画目》等书著录。现藏故宫博物院。",[7,24,86,25,621,243,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e897198e2de07be5ae069c46c590bfa.jpg","纵33.6厘米，横 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日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[7,7012,24,299,173,244,400,3899,266,314,16145],"湿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77861560213211ee329ec40013d0180f.jpg",[181],{"id":16149,"slug":16150,"title":16151,"dynasty":99,"author":100,"museum":311,"description":16152,"tags":16153,"thumbUrl":16154,"material":139,"size":139,"collection":139,"collections":16155,"showCount":16120,"zanCount":48,"manualWeight":48,"mainColor":49},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[7,23,24,81,28,27,26,29,106,210,109,34,176,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],{"id":16157,"slug":16158,"title":16159,"dynasty":18,"author":1419,"museum":311,"description":16160,"tags":16161,"thumbUrl":16162,"material":139,"size":139,"collection":139,"collections":16163,"showCount":16120,"zanCount":2209,"manualWeight":48,"mainColor":49},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[7,209,23,24,29,173,27,10897,1365,107,1265,285,176,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":16165,"slug":16166,"title":16167,"dynasty":204,"author":1733,"museum":311,"description":16168,"tags":16169,"thumbUrl":16170,"material":139,"size":139,"collection":139,"collections":16171,"showCount":16120,"zanCount":2209,"manualWeight":48,"mainColor":49},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[7,209,23,24,25,28,27,106,1365,8870,300,263,1112,15231,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],{"id":16173,"slug":16174,"title":16175,"dynasty":99,"author":278,"museum":20,"description":16176,"tags":16177,"thumbUrl":16178,"material":67,"size":16179,"collection":139,"collections":16180,"showCount":16120,"zanCount":48,"manualWeight":48,"mainColor":49},223339,"er-lang-shen-sou-shan-tu-juan-yi-ming-223339","二郎神搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[7,23,24,25,28,27,106,29,34,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a66aa3c0dc8d8069db69e347e0a460.jpg","53×561cm",[],{"id":16182,"slug":16183,"title":16184,"dynasty":99,"author":3869,"museum":191,"description":16185,"tags":16186,"thumbUrl":16188,"material":573,"size":16189,"collection":90,"collections":16190,"showCount":16120,"zanCount":2209,"manualWeight":48,"mainColor":49},222399,"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[7,23,24,225,27,28,83,402,1292,11111,16187,866,558],"鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[90,45],{"id":16192,"slug":16193,"title":16194,"dynasty":18,"author":5346,"museum":20,"description":16195,"tags":16196,"thumbUrl":16199,"material":1488,"size":16200,"collection":42,"collections":16201,"showCount":16120,"zanCount":2209,"manualWeight":48,"mainColor":94},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[7,23,24,25,173,1218,177,16197,178,263,2279,734,34,1265,3710,16198],"米点皴","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[42,181,163],{"id":16203,"slug":16204,"title":16205,"dynasty":54,"author":278,"museum":1666,"description":16206,"tags":16207,"thumbUrl":16209,"material":527,"size":16210,"collection":90,"collections":16211,"showCount":16120,"zanCount":2209,"manualWeight":48,"mainColor":49},221144,"ci-shan-dian-xin-tu-yi-ming-221144","此山点心图","唐绘手鉴笔耕园",[7,23,27,28,16208],"点心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd463580216147b46561ba8406a7b22.jpg","24.6×24.2",[90,45],{"id":16213,"slug":16214,"title":16215,"dynasty":99,"author":16216,"museum":20,"description":16217,"tags":16218,"thumbUrl":16219,"material":409,"size":16220,"collection":181,"collections":16221,"showCount":16120,"zanCount":48,"manualWeight":48,"mainColor":255},220395,"song-shi-tu-li-yong-chang-220395","松石图","李永昌","李永昌(公元17世纪)，生卒年不详。字周生，安徽休宁人。善画，尤工山水，仿元人笔意，与董其昌齐名，为新安派先锋。此图坡石前一棵老松，左曲右折的松干顶端零星地伸出几个枝桠，疏落凋枯的针叶无言地表明它已进入了暮年。松旁不远，几株杂树簇聚一团，在寥阔的天地间，显得渺小、孱弱，无依无靠。画的右上角自题：“醉剧松可倚，诗成石可刊，何须慕岩穴，咫尺是林峦。甲戌初夏画并题，拟待先社兄览笑。",[7,23,24,225,173,177,1365,176,229,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[181,163],{"id":16223,"slug":16224,"title":16225,"dynasty":18,"author":16226,"museum":583,"description":16227,"tags":16228,"thumbUrl":16229,"material":123,"size":16230,"collection":44,"collections":16231,"showCount":16120,"zanCount":1337,"manualWeight":48,"mainColor":49},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","中兴瑞应图","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[7,209,23,24,25,28,27,104,177,106,107,29,34,150,175,115,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[44],{"id":16233,"slug":16234,"title":16235,"dynasty":76,"author":4192,"museum":1279,"description":16236,"tags":16237,"thumbUrl":16238,"material":409,"size":16239,"collection":163,"collections":16240,"showCount":16120,"zanCount":48,"manualWeight":48,"mainColor":629},219177,"song-lin-shu-wu-tu-gong-xian-219177","松林书屋图","全图笔墨恣肆，气象氤氲，以竹林、书屋等景观构造了一个理想的隐逸世界。左上自题七言诗一首，末署“甲子初秋半亩龚贤并题”。钤“臣贤私印”、“半千”二印。甲子为康熙二十三年，公元1684年，作者时年86岁。",[7,23,173,177,225,29,5633,5384,176,466,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09717ac0071d60023828679c622fb9e.jpg","纵274.5 横128.5厘米",[163],{"id":16242,"slug":16243,"title":16244,"dynasty":204,"author":1515,"museum":206,"description":16245,"tags":16246,"thumbUrl":16247,"material":123,"size":16248,"collection":44,"collections":16249,"showCount":16120,"zanCount":1337,"manualWeight":48,"mainColor":49},218923,"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[7,209,23,24,28,27,106,150,34,1003,1518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[44],{"id":16251,"slug":16252,"title":16253,"dynasty":18,"author":2039,"museum":206,"description":16254,"tags":16255,"thumbUrl":16256,"material":123,"size":16257,"collection":42,"collections":16258,"showCount":16120,"zanCount":48,"manualWeight":48,"mainColor":49},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[7,23,24,1352,104,27,28,106,107,403,384,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[42],{"id":16260,"slug":16261,"title":16262,"dynasty":18,"author":278,"museum":206,"description":16263,"tags":16264,"thumbUrl":16265,"material":123,"size":16266,"collection":90,"collections":16267,"showCount":16120,"zanCount":1337,"manualWeight":48,"mainColor":94},218861,"die-fen-hua-cong-tu-yi-ming-218861","蝶粉花丛图","画面上画着五枝月季花，枝头上的花有的开得灿烂，有的含苞待放，花瓣是红色的，花尖是粉红色的，枝头上的叶子是深绿色的，花和叶子色彩斑斓，清新漂亮，两只蝴蝶在花丛中盘旋，伴着花香翩翩起舞。这幅画的笔触和色彩与卫昇，林椿的相似，应该说是南宋画派的代表作。",[7,23,209,28,27,83,81,512,369,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59d14f0dd44d2a05a8c854eb299aff6.jpg","23.6x25.2",[90],{"id":16269,"slug":16270,"title":16271,"dynasty":99,"author":4796,"museum":20,"description":16272,"tags":16273,"thumbUrl":16274,"material":123,"size":16275,"collection":90,"collections":16276,"showCount":16120,"zanCount":48,"manualWeight":48,"mainColor":49},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","竹鹤双清图","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[7,209,23,24,225,28,173,27,226,60,283,83,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[90],{"id":16278,"slug":16279,"title":16280,"dynasty":18,"author":5270,"museum":206,"description":16281,"tags":16282,"thumbUrl":16284,"material":327,"size":139,"collection":163,"collections":16285,"showCount":16120,"zanCount":2209,"manualWeight":48,"mainColor":94},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[7,23,173,29,266,60,16283,109,34,176,37,177,2042,24,25],"清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[163],{"id":16287,"slug":16288,"title":16289,"dynasty":189,"author":4438,"museum":206,"description":16290,"tags":16291,"thumbUrl":16294,"material":123,"size":16295,"collection":181,"collections":16296,"showCount":16120,"zanCount":1104,"manualWeight":48,"mainColor":94},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[7,23,173,29,177,109,174,1542,175,866,108,5535,16292,1265,16293,5243],"岸树","溪面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[181],{"id":16298,"slug":16299,"title":2977,"dynasty":18,"author":676,"museum":12728,"description":16300,"tags":16301,"thumbUrl":16302,"material":123,"size":16303,"collection":139,"collections":16304,"showCount":16120,"zanCount":48,"manualWeight":48,"mainColor":94},218436,"luo-shen-fu-tu-li-gong-lin-218436","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[7,23,24,25,244,27,106,59,29,109,34,229,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":16306,"slug":16307,"title":16308,"dynasty":99,"author":10349,"museum":6182,"description":16309,"tags":16310,"thumbUrl":16311,"material":123,"size":16312,"collection":181,"collections":16313,"showCount":16120,"zanCount":48,"manualWeight":48,"mainColor":49},218261,"song-xia-wen-yu-tu-wu-wei-218261","松下问渔图","虬松盘曲如铁，枝桠垂覆江畔。两位士人对坐石上促膝清谈，旁侧渔舟静泊，篙楫斜倚。远山含黛，烟霭轻笼，天地间漫着淡远暮色。笔墨苍劲洒脱，松干以浓墨皴擦显肌理，人物衣纹简括传神，寥寥数笔便现悠然神态。山水用淡墨晕染，虚实相生，烟波浩渺中藏无尽悠远。士人问渔，似叩问江湖意趣，亦或人生真味？画面动静相契，渔舟静谧与松风隐动、士人低语与山水无言交织，成一段清雅林下之思。笔墨纵逸却不失韵致，融山水之幽与人文之趣，尽显笔势见长的意趣盎然，引人沉潜其中。",[7,23,173,27,177,106,1365,174,176,2310,1265,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf277986b88ae0aa20f1e4c29aa19150.jpg","218.2x148cm",[181],{"id":16315,"slug":16316,"title":16317,"dynasty":204,"author":7779,"museum":132,"description":16318,"tags":16319,"thumbUrl":16320,"material":123,"size":16321,"collection":181,"collections":16322,"showCount":16120,"zanCount":48,"manualWeight":48,"mainColor":49},217996,"bi-shu-gong-tu-guo-zhong-shu-217996","避暑宫图","这是现存的宋代绘画中少有的杰作，也是有史以来最高标准的界画之一。",[7,23,104,27,29,107,176,34,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835da03f2af95dcf5be3dd4c03b0786a.jpg","174x102cm",[181],{"id":16324,"slug":16325,"title":16326,"dynasty":99,"author":16327,"museum":206,"description":16328,"tags":16329,"thumbUrl":16330,"material":409,"size":16331,"collection":328,"collections":16332,"showCount":16120,"zanCount":2209,"manualWeight":48,"mainColor":94},214215,"shi-tie-wang-chong-214215","诗帖","王宠","释文：江东逢著李龟年。肠断歌钟舞袖前。瑶水似闻黄竹奏。梨园新按紫霓篇。生憎玉色欺冰盌。不耐云光媚酒筵。掩泪青衫天畔客。举觞白眼饮中僊。右陆叔平席上作。修竹檀栾池水波。近人鱼鸟碧山阿。",[7,24,23,86,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe914d368bb33d1a218d6cee66ee71a67.jpg","84.1x29.6",[328],{"id":16334,"slug":16335,"title":8072,"dynasty":76,"author":16336,"museum":311,"description":16337,"tags":16338,"thumbUrl":16340,"material":2164,"size":2165,"collection":139,"collections":16341,"showCount":16342,"zanCount":1337,"manualWeight":48,"mainColor":255},289903,"hua-niao-tu-li-zhou-qu-zhao-lin-289903","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[7,209,23,24,225,27,28,83,1353,16339,229,9249],"绶带鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c17039c95e5cbe12757afdf6e48fac.jpg",[],86,{"id":16344,"slug":16345,"title":16346,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":16347,"thumbUrl":16348,"material":2164,"size":2165,"collection":139,"collections":16349,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":94},289898,"shi-liu-tu-li-zhou-wu-chang-shuo-289898","石榴图立轴",[7,209,23,24,225,3567,173,27,1153,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84d0c8474b987b8242984551428f81a.jpg",[],{"id":16351,"slug":16352,"title":16353,"dynasty":18,"author":278,"museum":311,"description":16354,"tags":16355,"thumbUrl":16356,"material":2164,"size":2165,"collection":139,"collections":16357,"showCount":16342,"zanCount":2209,"manualWeight":48,"mainColor":49},288935,"li-zhi-tu-yi-ming-288935","荔枝图","此作以折枝构图排布画面，疏密错落间尽显雅致意趣。画师以精工笔法晕染荔枝，半熟的青白带晕红，熟透的赤艳饱满，将果皮的粗糙肌理摹写入微，鲜活仿若可触。墨色枝叶层次分明，浓墨勾出叶骨，淡墨晕染叶背，阴阳向背间尽显叶片舒展的柔劲生机，浅褐色枝桠苍劲柔韧，托举累累果实。右上角隐见小飞虫，更添幽微野趣。整幅设色古雅沉静，写实入微，尽显观察万物的细腻匠心，将盛夏枝头鲜活的荔枝风物定格于绢素之上，藏着雅致生动的清赏意趣。",[7,23,209,24,1352,28,27,83,2266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ae796b39da5fcbccf537b826cdca33.jpg",[],{"id":16359,"slug":16360,"title":16361,"dynasty":99,"author":3908,"museum":311,"description":16362,"tags":16363,"thumbUrl":16364,"material":2164,"size":2165,"collection":139,"collections":16365,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":49},283633,"mei-hua-kong-que-tu-li-zhou-lu-zhi-283633","梅花孔雀图立轴","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[7,209,23,24,225,83,27,28,402,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348bcac60141f1be81731be09cbd4419.jpg",[],{"id":16367,"slug":16368,"title":16369,"dynasty":54,"author":6381,"museum":101,"description":16370,"tags":16371,"thumbUrl":16372,"material":67,"size":16373,"collection":139,"collections":16374,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":49},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[7,23,26,27,25,28,29,2279,557,114,37,10496,34,35,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","47.1 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197.4厘米",[],{"id":16376,"slug":16377,"title":16378,"dynasty":18,"author":676,"museum":311,"description":16379,"tags":16380,"thumbUrl":16381,"material":139,"size":139,"collection":139,"collections":16382,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":94},227609,"wei-mo-yan-jiao-tu-juan-li-gong-lin-227609","维摩演教图卷","《维摩演教图》卷，传为宋李公麟绘，纸本，墨笔，纵34.6厘米，横207.5厘米。\n\n无作者款印。画后幅有明沈度书《心经》及跋“永乐丙戍岁，予客燕台真如寺，老僧元觉出示李龙眠演教图真迹，随索予书《心经》附后，自愧玉台难并，固辞再三。老僧索之甚笃，勉强净手谨书一通。是夕上元日也。云间沈度。”丙戌为明永乐四年（1406年）。并有明董其昌、王穉登题跋。钤元柯九思“柯氏敬仲”，清索额图“钦赐忠孝长白山长索额图字九如号愚庵书画珍藏永贻子孙”、“长白索氏珍藏图书印”，清宣统皇帝“宣统御览之宝”、“宣统鉴赏”等鉴藏印，共57方。\n\n此图取材于佛教《维摩诘经》，描绘的是装病在家的维摩诘向奉佛祖释迦牟尼之命前来探病的文殊菩萨宣讲大乘教义的场面。全图意在表现维摩诘所具有的高深机智及其对佛教教义的巧思善辩。画中维摩诘坐于锦榻之上，精神矍铄地谈论教义，对面的文殊菩萨脚踩莲花，双手合十，对维摩诘的说法心悦诚服。画幅中部绘天女故意往大弟子舍利弗身上撒沾衣不坠的花瓣，令躲闪不及的舍利弗连忙振衣抖拂。维摩见此当即指出佛教应该视万物皆空的教义实质。\n\n佛教是公元前6至5世纪由释迦牟尼于印度创立，相传东汉明帝时传入中国。艺术家们为了扩大佛教在中国的影响，在表现佛教人物或故事时逐渐将他们中国化，生活化，以符合中国人的审美观。从东晋顾恺之到隋唐敦煌壁画，维摩诘尚被表现为“须眉奋张，目光如炬”的形象，而此图中他已完全成为汉化的佛教徒的形象。文殊菩萨体态雍容端庄，犹如现实生活中名门望族之人。众天女于恭谨中显露出活泼的神情，毫无宗教的虔诚之态。文人世俗思想融入宗教画创作中无疑增添了作品的亲和力，同时也增强了作品的感染力。全图为扫却粉黛的墨线勾描，遒劲圆转而富于表现力度的游丝描和铁线描相辅相成，在成功地刻画出神态各异的人物形象的同时，洁净轻淡的笔法也与佛教“空即是色，色即是空”的教义相吻合。\n\n此图无款，对作者有三种推测：明人沈度、董其昌、王穉登等人在画卷的跋中皆称作者为宋代李公麟。当代学者金维诺等先生认为作者应是金代的马云卿，主要根据是美国大都会博物馆藏有元代王振鹏《临马云卿画维摩不二图草本》。王振鹏在卷后题跋中称：“至大元年二月初一日拜住怯薛第二日，隆福宫花园山子上，西荷叶殿内，臣王振鹏特奉仁宗皇帝潜邸圣旨，临金马云卿画维摩不二图草本。”王振鹏的临本与此幅的艺术风格、构图章法等极为相仿，只是在局部纹饰上稍有细微变化。但目前亦有专家认为此图既不是李公麟所作，亦非马云卿所为，它应是宋佚名画家的作品。事实上，无论作者是谁，该图代表着早期白描人物画的最高成就当是无可争议的。",[7,209,23,24,25,243,106,244,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a5ca121eafafb8b8cc4acc361a11f6.jpg",[],{"id":16384,"slug":16385,"title":16386,"dynasty":204,"author":4074,"museum":311,"description":16387,"tags":16388,"thumbUrl":16390,"material":139,"size":139,"collection":139,"collections":16391,"showCount":16342,"zanCount":1104,"manualWeight":48,"mainColor":49},227262,"xue-jing-ba-jiao-han-que-tu-huang-ju-cai-227262","雪景芭蕉寒雀图","麻雀是我们生活中常见的鸟类，身形娇小，机敏灵活，却也憨态可掬，更因为打不倒的顽强生命力，在画家们的笔下，散发出了生机勃勃的魅力，一幅花鸟画中，因为麻雀的构成，顿时“活”了起来，因此国画麻雀也相当受画家和收藏者们喜爱",[7,209,23,24,225,27,83,28,2019,806,16389,402,404],"寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267d2fc6d76d34d83a59c288d428c4e8.jpg",[],{"id":16393,"slug":16394,"title":16395,"dynasty":76,"author":963,"museum":311,"description":16396,"tags":16397,"thumbUrl":16398,"material":2164,"size":2165,"collection":139,"collections":16399,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":49},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[7,209,23,24,225,173,400,86,263,83,369,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":16401,"slug":16402,"title":16403,"dynasty":76,"author":4225,"museum":206,"description":16404,"tags":16405,"thumbUrl":16413,"material":139,"size":16414,"collection":44,"collections":16415,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":49},222834,"yuan-ben-qing-ming-shang-he-tu-sun-hu-222834","院本清明上河图","此画由清宫画院的五位画家协作画成，是参照了各朝仿本、集各家所长的作品。同时增加了明清时代的特殊风俗，如踏青、表演等等娱乐活动，亦增添了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，使画中人物增加到超过4,000人，而且受到西洋画风的影响，街道房舍均以透视原理作画，并有西式建筑行置其中。此卷用色鲜丽明亮，用笔达圆熟细致，所画之桥梁、屋宇、人物皆细腻严谨，是院画中的精品之作。",[7,23,25,27,28,106,107,36,16406,4230,11064,16407,16408,16409,16410,16411,1656,16412],"屋宇","戏剧","特技","擂台","西式建筑","踏青","院画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98aa9c3aaaf37a0138ff09866aaaffc7.jpg","长1152.8公分及宽35.6公分",[44,45],{"id":16417,"slug":16418,"title":16419,"dynasty":99,"author":16420,"museum":206,"description":16421,"tags":16422,"thumbUrl":16423,"material":3812,"size":16424,"collection":181,"collections":16425,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":94},222166,"ban-chuang-qing-cui-tu-zhou-xia-chang-222166","半窗晴翠图轴","夏昶","夏昶（1388—1470），字仲昭，號自在居士，江蘇崑山人。永樂十三年（1415）進士，官至太常寺卿。精於楷書，曾為永樂皇帝書榜。師法王紱（1362－1416），繪竹觀察入微，名聲遠播域外。 墨竹取其一竿，由底部凌空而起，枝幹堅立。巧妙運用濃淡墨色變化，表現竹葉正反向背，畫面大量留白，營造層次空間感。竹爲文人士大夫節操象徵，夏氏為官處事清廉，墨竹瘦勁孤高，為其人格寫照。",[7,23,24,225,173,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d9c2987b664b21c5009d24314eaec2.jpg","139.2x45.3厘米",[181,163],{"id":16427,"slug":16428,"title":16429,"dynasty":99,"author":1014,"museum":20,"description":16430,"tags":16431,"thumbUrl":16432,"material":841,"size":16433,"collection":181,"collections":16434,"showCount":16342,"zanCount":1337,"manualWeight":48,"mainColor":4391},222028,"guan-shan-xing-lv-tu-dai-jin-222028","关山行旅图","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[7,23,173,177,29,108,109,384,176,35,151,150,175,467,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[181,163],{"id":16436,"slug":16437,"title":11867,"dynasty":189,"author":4438,"museum":20,"description":16438,"tags":16439,"thumbUrl":16440,"material":1271,"size":16441,"collection":181,"collections":16442,"showCount":16342,"zanCount":2209,"manualWeight":48,"mainColor":49},221756,"song-shi-tu-zhou-sheng-mao-221756","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[7,209,23,24,225,173,177,1365,283,229,866,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[181,163],{"id":16444,"slug":16445,"title":16446,"dynasty":18,"author":1419,"museum":206,"description":16447,"tags":16448,"thumbUrl":16449,"material":40,"size":16450,"collection":42,"collections":16451,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":49},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[7,23,24,1218,225,173,177,27,734,385,384,108,106,150,1422,1775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[42,181,163],{"id":16453,"slug":16454,"title":16455,"dynasty":18,"author":13876,"museum":20,"description":16456,"tags":16457,"thumbUrl":16458,"material":27,"size":16459,"collection":42,"collections":16460,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":49},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[7,23,24,209,29,177,173,27,176,466,34,35,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[42,181,163],{"id":16462,"slug":16463,"title":8905,"dynasty":54,"author":16464,"museum":1666,"description":16465,"tags":16466,"thumbUrl":16467,"material":16468,"size":16469,"collection":163,"collections":16470,"showCount":16342,"zanCount":2209,"manualWeight":48,"mainColor":94},221093,"zhu-tu-rong-yang-221093","荣阳","晚唐时期的绘画，最可注意的就是花鸟画的兴起，中国绘画史上以题材而论，人物画发展最早，其次是山水，花鸟画居第三。花鸟图形用来作丝帛上的花纹和壁画上的装饰，自战国到汉唐都很普遍。但成为绘画的独立题材，是始于中唐而盛于晚唐。边鸾的“折枝”花卉，只画一枝花，无根无干，风格新颖，很受当时人的欢迎。他兼精翎毛，于是奠定了花鸟画的地位。刁光胤更将花鸟画发展到了完善的地步。",[7,23,173,226,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a425482415215a9b6abe08555c3dcd.jpg","绢本，水墨","27.2*23.0cm",[163,1896],{"id":16472,"slug":16473,"title":12435,"dynasty":54,"author":7476,"museum":101,"description":7477,"tags":16474,"thumbUrl":16475,"material":7480,"size":7481,"collection":328,"collections":16476,"showCount":16342,"zanCount":1337,"manualWeight":48,"mainColor":94},221068,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221068",[7,86,621,5152,263,25,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeac32242755aa712d5d8484ba83da2e.jpg",[328,2097],{"id":16478,"slug":16479,"title":16480,"dynasty":99,"author":2494,"museum":583,"description":16481,"tags":16482,"thumbUrl":16483,"material":16484,"size":16485,"collection":181,"collections":16486,"showCount":16342,"zanCount":2209,"manualWeight":48,"mainColor":255},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[7,209,23,24,225,173,27,177,29,865,176,1265,736,34,658,1128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[181,163],{"id":16488,"slug":16489,"title":16490,"dynasty":189,"author":645,"museum":206,"description":16491,"tags":16492,"thumbUrl":16493,"material":699,"size":16494,"collection":328,"collections":16495,"showCount":16342,"zanCount":1337,"manualWeight":48,"mainColor":94},220885,"xian-ju-fu-zhao-meng-fu-220885","闲居赋","学赵孟頫行书，《闲居赋》是一个不错的选择。《闲居赋》法度严谨，相对不可捉摸、更加自由的手札，它具有更清晰明了的书写规范，更适合初学；而相对一些偏正式的书写内容，它又多了几分随性，写来变化丰富，美妙多姿。\n书西晋著名文学家潘岳《闲居赋》一首，56行，凡627字，款署子昂。此作无年款，但从书法上考察，应是晚年所书，为赵孟頫上乘之作。卷末有清曹溶题跋。",[7,86,178,25,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed6c39e105804541eda350961a53ebf.jpg","纵38厘米，横248.3厘米",[328],{"id":16497,"slug":16498,"title":16499,"dynasty":18,"author":4438,"museum":206,"description":16500,"tags":16501,"thumbUrl":16502,"material":27,"size":139,"collection":42,"collections":16503,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":94},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[7,23,24,81,27,29,174,1542,266,34,109,867,1265,3710,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg",[42],{"id":16505,"slug":16506,"title":16507,"dynasty":99,"author":2494,"museum":1098,"description":16508,"tags":16509,"thumbUrl":16510,"material":409,"size":16511,"collection":181,"collections":16512,"showCount":16342,"zanCount":2209,"manualWeight":48,"mainColor":94},220002,"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[7,23,24,225,173,177,29,176,34,35,106,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[181],{"id":16514,"slug":16515,"title":16516,"dynasty":76,"author":16517,"museum":447,"description":16518,"tags":16519,"thumbUrl":16521,"material":123,"size":16522,"collection":44,"collections":16523,"showCount":16342,"zanCount":2209,"manualWeight":48,"mainColor":94},219558,"chun-jie-mo-jing-tu-xu-ting-kun-219558","春节磨镜图","徐廷琨","深宅巷口寒梅初绽，年意漫溢在古雅院墙间。老匠人俯身转轴磨镜，铜轮轻转，正将镜面拭得锃亮。仕女携稚子围拢观望，孩童们或捧起面具把玩，或躲在朱门后探头窥看，更有小顽童踮脚逗趣，把岁朝的松弛鲜活尽数铺展。朱红楹联衬着素淡院墙，冷枝与暖色调相映，笔触细腻温婉，将市井年俗的温情揉进淡墨浅彩里，把巷陌间的年节烟火定格，晕开旧时光里独有的团圆暖意。",[7,23,27,28,225,106,8731,8652,5738,402,7024,16520,35,283,12037],"磨镜工具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b293983689f1320abb018c4c354e19.jpg","53x109cm",[44,45],{"id":16525,"slug":16526,"title":16527,"dynasty":76,"author":16528,"museum":1098,"description":16529,"tags":16530,"thumbUrl":16532,"material":88,"size":16533,"collection":45,"collections":16534,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":94},219272,"fang-gong-kai-zhong-nan-gui-qu-tu-fei-dan-xu-219272","仿龚开终南鬼趣图","费丹旭","费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[7,23,27,28,105,106,109,1322,8871,84,283,281,16531,1640,284],"老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3f08da92920c2ef320d48087d820c1a.jpg","124.7x56.5厘米",[45],{"id":16536,"slug":16537,"title":16538,"dynasty":99,"author":278,"museum":222,"description":16539,"tags":16540,"thumbUrl":16541,"material":173,"size":139,"collection":163,"collections":16542,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":49},219245,"qun-yu-xi-shui-tu-yi-ming-219245","群鱼戏水图","画面中四条游鱼摆尾摇鳍，姿态各异：或俯冲而下，或结伴游弋，或相互顾盼，似在清浅碧波中自在穿梭。鱼身以淡墨晕染出细腻鳞纹，线条简劲灵动，将鱼儿的鲜活质感勾勒得淋漓尽致。下方水藻疏朗写意，寥寥数笔点染出摇曳之姿，与游鱼相映成趣，暗喻水的澄澈空濛。背景素净，不着浓墨却尽显空寂中的生机，仿佛能听见水波轻漾之声。整幅作品笔墨简约却意韵悠长，以灵动鱼群与疏淡水藻，营造出悠然恬淡的自然之趣，传递出古人对生命本真的细腻观照与闲适心境。",[7,23,24,173,28,783,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0776132fb25c9eb3a02af0d582f360a.jpg",[163],{"id":16544,"slug":16545,"title":16546,"dynasty":18,"author":16547,"museum":206,"description":16548,"tags":16549,"thumbUrl":16551,"material":123,"size":16552,"collection":90,"collections":16553,"showCount":16342,"zanCount":2209,"manualWeight":48,"mainColor":94},219225,"song-zhi-qun-lu-tu-mou-zhong-fu-219225","松芝群鹿图","牟仲甫","图绘松荫下双鹿，旁有翠竹灵芝。二鹿耸起耳朵，目光凝视同方向，似为某事所惊动。画家以极精致的笔法，描画出二鹿的形态，捕捉到自然界中生动微妙的刹那，这就是宋朝画家的长处。牟仲甫，生卒年待考。随州（今湖北省随县）人。画猿獐猴鹿与易元吉相似，画鸡尤有意趣。",[7,23,209,1352,27,28,403,4778,16550],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8e3db937a2cc36b9216018ebe39af9.jpg","23.9x24.3cm",[90],{"id":16555,"slug":16556,"title":16557,"dynasty":189,"author":9788,"museum":311,"description":16558,"tags":16559,"thumbUrl":16560,"material":123,"size":10625,"collection":90,"collections":16561,"showCount":16342,"zanCount":2209,"manualWeight":48,"mainColor":94},219123,"hua-hui-ce-ju-wang-yuan-219123","花卉册-菊","赭黄绢底晕开浅淡秋光，几簇白菊簇生枝侧。花瓣以细劲游丝勾勒，层叠如缕，留白处恍若凝着晨露；旁逸竹枝挺秀，竹叶撇捺间见笔力，墨色深浅映出劲节。右下角粉蝶轻振翅翼，翅脉以淡墨晕染，姿态翩跹欲落未落，为静谧花竹注入灵动生气。\n\n笔法兼工带写，柔媚菊瓣与刚劲竹枝相衬，无浓艳设色却清雅入骨。画面凝萃着文人对秋菊傲霜的喟叹，亦藏着对自然生机的细腻捕捉。笔墨间流转元代文人画的内敛韵致——于素淡中见丰腴，于细微处显匠心，每一笔都似在诉说秋日常景里的清雅情味，让观者沉湎于这份不事张扬的诗意中。",[7,23,24,209,81,27,28,83,407,226,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9037637de8126cac747bb8560b156.jpg",[90],{"id":16563,"slug":16564,"title":16565,"dynasty":189,"author":3051,"museum":206,"description":16566,"tags":16567,"thumbUrl":16570,"material":88,"size":16571,"collection":90,"collections":16572,"showCount":16342,"zanCount":2209,"manualWeight":48,"mainColor":94},219110,"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[7,23,209,28,27,83,16568,16569,6739,86,263],"松鼠","桃枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[90],{"id":16574,"slug":16575,"title":16576,"dynasty":76,"author":16577,"museum":20,"description":16578,"tags":16579,"thumbUrl":16580,"material":123,"size":16581,"collection":181,"collections":16582,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":49},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[7,23,225,173,177,29,734,282,34,35,108,558,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[181],{"id":16584,"slug":16585,"title":16586,"dynasty":99,"author":16587,"museum":206,"description":16588,"tags":16589,"thumbUrl":16590,"material":409,"size":16591,"collection":328,"collections":16592,"showCount":16342,"zanCount":48,"manualWeight":48,"mainColor":49},214207,"xing-shu-zhou-zhang-rui-tu-214207","行书轴","张瑞图","释文：借问欲栖珠树隺。何年却傍帝城飞。果亭瑞图。",[7,86,178,225,1115,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7ddc20f101ed60c4ac5b9f77df0b3b.jpg","166.1x41.3",[328],{"id":16594,"slug":16595,"title":16596,"dynasty":18,"author":3884,"museum":206,"description":16597,"tags":16598,"thumbUrl":16599,"material":302,"size":16600,"collection":42,"collections":16601,"showCount":16602,"zanCount":2209,"manualWeight":48,"mainColor":49},288266,"pi-pa-kong-que-tu-cui-bai-288266","枇杷孔雀图","不同于崔白其他传世作品，画面富丽堂皇，显示出了崔白对黄筌父子画风的传承，应是其尚未变法以前的作品。画中的主体是一对雄雌孔雀，一只栖立在枇杷树上，一只游憩于花丛之间。两只小鸟立于枇杷树枝头，与画面左侧展翅的绶带鸟相望。背景处一块湖石，中间有细竹、杂花相互掩映。 整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[7,23,24,28,27,83,1140,297,266,1724,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[42],85,{"id":16604,"slug":16605,"title":3686,"dynasty":18,"author":418,"museum":311,"description":3919,"tags":16606,"thumbUrl":16607,"material":2164,"size":2165,"collection":139,"collections":16608,"showCount":16602,"zanCount":1337,"manualWeight":48,"mainColor":94},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888",[7,209,23,24,25,28,173,83,266,226,1628,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],{"id":16610,"slug":16611,"title":16612,"dynasty":54,"author":485,"museum":311,"description":16613,"tags":16614,"thumbUrl":16615,"material":139,"size":139,"collection":139,"collections":16616,"showCount":16602,"zanCount":2209,"manualWeight":48,"mainColor":49},231005,"shi-nv-xiao-xiang-li-zhou-yan-li-ben-231005","仕女肖像立轴","此作工致写实，仕女端然危坐，神态恬然沉静，尽显闺秀端凝气度。豆绿团衫温婉雅致，衣缘绣纹清丽柔润，发丝轻挽簪花素净，衣纹线条匀细凝练，晕染柔和自然，将仕女娴静温婉的风姿尽数铺展。身侧条案陈置清供法器，古雅沉静，暗合文人雅致意趣。整体设色柔澹沉稳，古绢晕开旧时光晕，笔意朴拙不失精细，将东方古典仕女内敛静穆的风华凝于绢素之上，静谧耐看，带着醇厚古雅的质感。",[7,209,23,225,27,28,106,59,63,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b73f886d81289c69433793116e980d.jpg",[],{"id":16618,"slug":16619,"title":12594,"dynasty":76,"author":278,"museum":311,"description":16620,"tags":16621,"thumbUrl":16622,"material":2164,"size":2165,"collection":139,"collections":16623,"showCount":16602,"zanCount":2209,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[7,23,24,25,26,27,29,105,28,177,557,34,37,31,35,1087,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],{"id":16625,"slug":16626,"title":16627,"dynasty":189,"author":3051,"museum":311,"description":16628,"tags":16629,"thumbUrl":16630,"material":139,"size":139,"collection":139,"collections":16631,"showCount":16602,"zanCount":48,"manualWeight":48,"mainColor":94},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[7,209,23,24,25,27,28,83,1905,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":16633,"slug":16634,"title":16635,"dynasty":18,"author":446,"museum":311,"description":16636,"tags":16637,"thumbUrl":16638,"material":139,"size":139,"collection":139,"collections":16639,"showCount":16602,"zanCount":1337,"manualWeight":48,"mainColor":49},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[7,23,209,225,173,29,177,108,109,106,34,466,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],{"id":16641,"slug":16642,"title":16643,"dynasty":76,"author":2924,"museum":311,"description":16644,"tags":16645,"thumbUrl":16646,"material":139,"size":139,"collection":139,"collections":16647,"showCount":16602,"zanCount":2209,"manualWeight":48,"mainColor":94},224378,"hua-hui-qi-shi-ce-shi-er-kai-8-ju-lian-224378","花卉奇石册-十二开-8","此作用笔秀润工致，湖石嶙峋朴拙，留白孔洞衬出通透雅姿，旁侧幽竹叶叶分明，清隽舒展。石畔野花柔婉娇妍，细草萦地，将小景衬得生机悠然。\n\n附石螳螂昂首凝神，振翅小虫翩跹于空，草虫刻画毫厘毕现，将灵动野趣藏于静雅景致中。设色轻浅柔和，晕染细腻自然，工笔精致却不板滞，将幽寂庭隅的清趣鲜活定格，于尺幅绢素间，糅合草木的静雅与草虫的生机，尽显闲淡悠然的逸致，勾勒出夏日庭间的鲜活幽谧。",[7,23,24,81,27,28,83,226,1724,84,940,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":16649,"slug":16650,"title":16651,"dynasty":54,"author":16652,"museum":311,"description":16653,"tags":16654,"thumbUrl":16656,"material":699,"size":2164,"collection":328,"collections":16657,"showCount":16602,"zanCount":2209,"manualWeight":48,"mainColor":94},223386,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-bai-ju-yi-223386","古抄残卷《白氏文集》第三巻","白居易","白居易（772年－846年），字乐天，号香山居士，又号醉吟先生，祖籍山西太原，到其曾祖父时迁居下邽，生于河南新郑。 是唐代伟大的现实主义诗人，唐代三大诗人之一。白居易与元稹共同倡导新乐府运动，世称“元白”，与刘禹锡并称“刘白”。\n白居易的诗歌题材广泛，形式多样，语言平易通俗，有“诗魔”和“诗王”之称。官至翰林学士、左赞善大夫。公元846年，白居易在洛阳逝世，葬于香山。有《白氏长庆集》传世，代表诗作有《长恨歌》《卖炭翁》《琵琶行》等。\n1988年，日本中国文化显彰会为白园捐立石碑，以纪念白居易，碑文用中、日两种文字书写。1995年，4个日本人于此上书“樱献”。\n\n生平:\n唐代宗大历七年（772年）正月，白居易出生于河南新郑的一个“世敦儒业”的中小官僚家庭。白居易出生之后不久，家乡便发生了战争。藩镇李正己割据河南十余州，战火烧得民不聊生。白居易二岁时，任巩县令的祖父卒于长安，紧接他的祖母又病故。白居易的父亲白季庚先由宋州司户参军授徐州彭城县县令（780年），一年后因白季庚与徐州刺史李洧坚守徐州有功，升任徐州别驾，为躲避徐州战乱，他把家居送往宿州符离安居。白居易得以在宿州符离度过了童年时光。 而白居易聪颖过人，读书十分刻苦，读得口都生出了疮，手都磨出了茧，年纪轻轻的，头发全都白了。\n806年，白居易罢校书郎。同年四月试才识兼茂明于体用科，及第，授盩庢县（今西安周至县）尉。807年，任进士考官、集贤校理，授翰林学士。808年任左拾遗，迎娶杨虞卿从妹为妻。810年改任京兆府户部参军，811年母亲陈氏去世，离职丁忧，归下邽。814年回长安，授太子左赞善大夫。\n任左拾遗时，白居易认为自己受到喜好文学的皇帝赏识提拔，故希望以尽言官之职责报答知遇之恩，因此频繁上书言事，并写大量的反应社会现实的诗歌，希望以此补察时政，乃至于当面指出皇帝的错误。白居易上书言事多获接纳，然而他言事的直接，曾令唐宪宗感到不快而向李绛抱怨：“白居易小子，是朕拔擢致名位，而无礼于朕，朕实难奈。”李绛认为这是白居易的一片忠心，而劝谏宪宗广开言路。\n815年，宰相武元衡遇刺身亡，白居易上表主张严缉凶手，被认为是越职言事。其后白居易又被诽谤：母亲看花而坠井去世，白居易却著有“赏花”及“新井”诗，有害名教。遂以此为理由贬为江州（今江西九江）司马。818年，白居易的弟弟白行简至江州与白居易相聚。当白居易被任命为忠州刺史时，白行简也一同与兄长溯江而上。途中与元稹相遇于黄牛峡，三人相游之处被称为三游洞。在忠州任职的时间，白居易在忠州城东的山坡上种花，并命名此地为“东坡”。同年冬，被任命为忠州（今重庆市忠县）刺史，819年到任。820年夏，被召回长安，任尚书司门员外郎。\n白居易的母亲虽因看花坠井去世，然而白居易早有许多咏花之作，而依宋代的纪录，新井诗作于元和元年左右（新井诗今已失传），可见此事不能构成罪名。他被贬谪的主因，很可能与他写讽谕作品而得罪当权者有关。贬谪江州是白居易一生的转折点：在此之前他以“兼济”为志，希望能做对国家人民有益的贡献；至此之后他的行事渐渐转向“独善其身”，虽仍有关怀人民的心，表现出的行动却已无过去的火花了。然而白居易在江州虽不得志，大体上仍能恬然自处，曾在庐山香炉峰北建草堂，并与当地的僧人交游。\n820年冬，转任主客郎中、知制诰。821年，加朝散大夫，始正式著五品绯色朝服，（绯色即朱色，为五品以上官员所用的服色）。转上柱国，又转中书舍人。822年，白居易上书论当时河北的军事，不被采用，于是请求到外地任职，7月被任命为杭州刺史，10月到任。任内有修筑西湖堤防、疏浚六井等政绩。824年5月，任太子左庶子分司东都，秋天至洛阳，在洛阳履道里购宅。825年，被任命为苏州刺史，5月到任。826年因病去职，后与刘禹锡相伴游览于扬州、楚州一带。\n在杭州刺史任内，见杭州有六口古井因年久失修，便主持疏浚六井，以解决杭州人饮水问题。又见西湖淤塞农田干旱，因此修堤蓄积湖水，以利灌溉，舒缓旱灾所造成的危害，并作《钱塘湖石记》，将治理湖水的政策、方式与注意事项，刻石置于湖边，供后人知晓，对后来杭州的治理湖水有很大的影响。离任前，白居易将一笔官俸留在州库之中作为基金，以供后来治理杭州的官员公务上的周转，事后再补回原数。当这笔基金一直运作到黄巢之乱时，当黄巢抵达杭州，文书多焚烧散失，这笔基金才不知去向。\n西湖有白堤，两岸栽种有杨柳，后世误传这即是白居易所修筑的堤，而称之为白公堤。事实上这道“白堤”在白居易来杭州之前已存在，当时称为“白沙堤”，且见于白居易的诗作之中。\n当白居易在杭州时，元稹亦从宰相转任浙东观察使，浙东、杭州相去并非太远，因而二人之间有许多往还的赠答诗篇。当白居易任满离开杭州时，元稹要求白居易交出全部的作品，编成《白氏长庆集》五十卷。\n在苏州刺史任内，白居易为了便利苏州水陆交通，开凿了一条长七里西起虎丘东至阊门的山塘河，山塘河河北修建道路，叫“七里山塘”，简称“山塘街”。\n827年，白居易至长安任秘书监，配紫金鱼袋，换穿紫色朝服（三品以上官员所用的服色）。828年，转任刑部侍郎，封晋阳县男。829年春，因病改授与太子宾客分司，回洛阳履道里。830年12月，任河南尹。831年七月元稹去世。832年，为元稹撰写墓志铭，元家给白居易润笔的六七十万钱，白居易将全数布施于洛阳香山寺。833年，因病免河南尹，再任太子宾客分司。835年，被任命为同州刺史，辞不赴任，后改任命为太子少傅分司东都，封冯翊县侯，仍留在洛阳。839年10月得风疾。841年，罢太子少傅，停俸。842年，以刑部尚书致仕，领取半俸。\n晚年白居易的生活，大多是以“闲适”的生活反应自己“穷则独善其身”的人生哲学。而844年，73岁的白居易出钱开挖龙门一带阻碍舟行的石滩，事成后作诗《开龙门八节石滩诗二首并序》留念，诗中仍反映出他“达则兼济天下”的人生观。\n晚年的白居易大多在洛阳的履道里第度过，与刘禹锡唱和，时常游历于龙门一带。作《池上篇》、《醉吟先生传》自况。845年，白居易74岁，尚在履道里第举行“七老会”，与会者有胡杲、吉皎、郑据、刘真、卢贞、张浑与白居易；同年夏，以七老合僧如满、李元爽，画成“九老图”。白居易晚年笃信佛教，号香山居士，为僧如满之弟子。\n武宗会昌六年（846年）八月十四日（9月8日），白居易去世于洛阳，享年75岁，赠尚书右仆射，谥号“文”，葬于洛阳香山。白居易去世后，唐宣宗李忱写诗悼念他说：“缀玉联珠六十年，谁教冥路作诗仙？浮云不系名居易，造化无为字乐天。童子解吟《长恨》曲，胡儿能唱《琵琶》篇。文章已满行人耳，一度思卿一怆然。”著有《白氏长庆集》，共有七十一卷。",[7,86,621,5153,16655,1116,2547],"抄本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89515a061475fbfc4d99003bda2efa65.jpg",[328],{"id":16659,"slug":16660,"title":16661,"dynasty":76,"author":582,"museum":20,"description":16662,"tags":16663,"thumbUrl":16664,"material":40,"size":16665,"collection":44,"collections":16666,"showCount":16602,"zanCount":2209,"manualWeight":48,"mainColor":49},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[7,23,28,27,104,178,263,106,107,433,2278,282,1322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[44],{"id":16668,"slug":16669,"title":16670,"dynasty":99,"author":2242,"museum":260,"description":4480,"tags":16671,"thumbUrl":16672,"material":527,"size":4484,"collection":139,"collections":16673,"showCount":16602,"zanCount":48,"manualWeight":48,"mainColor":94},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7",[7,209,23,24,939,400,173,27,83,84,759,658,1629,14774],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg",[],{"id":16675,"slug":16676,"title":16677,"dynasty":99,"author":3869,"museum":1666,"description":3870,"tags":16678,"thumbUrl":16680,"material":573,"size":3878,"collection":139,"collections":16681,"showCount":16602,"zanCount":2209,"manualWeight":48,"mainColor":49},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春",[7,23,209,28,27,83,402,370,2053,176,926,225,16679],"开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg",[],{"id":16683,"slug":16684,"title":4568,"dynasty":99,"author":15579,"museum":1529,"description":16685,"tags":16686,"thumbUrl":16687,"material":527,"size":16688,"collection":181,"collections":16689,"showCount":16602,"zanCount":48,"manualWeight":48,"mainColor":94},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[7,23,1218,105,177,173,176,34,107,108,109,475,175,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[181,163],{"id":16691,"slug":16692,"title":16693,"dynasty":189,"author":6413,"museum":206,"description":16694,"tags":16695,"thumbUrl":16697,"material":16698,"size":16699,"collection":181,"collections":16700,"showCount":16602,"zanCount":2209,"manualWeight":48,"mainColor":49},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[7,23,1218,225,173,27,177,2279,734,16696,34,468,176,37,473],"岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[181,163],{"id":16702,"slug":16703,"title":14820,"dynasty":189,"author":645,"museum":20,"description":16704,"tags":16705,"thumbUrl":16706,"material":67,"size":16707,"collection":328,"collections":16708,"showCount":16602,"zanCount":2209,"manualWeight":48,"mainColor":49},220880,"qian-zi-wen-zhao-meng-fu-220880","引首系明代徐霖篆书“松雪千文”四个大字，卷后有元从张雨、赵雍、赵奕、黄公望，明代莫云卿、张湘詹景凤、徐霖等众人跋文。\n赵孟頫酷爱以千字文为习字素材，他曾在一卷千字文中自题云：“僕二十年来，写千字文以百数”足见共学书之勤奋。本卷是其晚年书写的一件千字文，先是楷书，后渐舒展为行书。\n明代书家詹景凤评说：“此卷笔法高古、圓润峻秀，为承旨得意之作。”\n明代书家莫雲卿评说：“昔人谓方圓一万里，上下数百年，绝无承旨 书法 ，观此本信然。”",[7,24,86,178,621,25,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e6e46623392abf17fdd5a46b402c2b.jpg","26.5X373.4CM",[328],{"id":16710,"slug":16711,"title":16712,"dynasty":76,"author":278,"museum":20,"description":16713,"tags":16714,"thumbUrl":16718,"material":123,"size":16719,"collection":44,"collections":16720,"showCount":16602,"zanCount":1337,"manualWeight":48,"mainColor":49},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 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“有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[7,23,173,225,177,86,263,29,175,34,176,109,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[181],{"id":16914,"slug":16915,"title":16916,"dynasty":18,"author":2297,"museum":311,"description":16917,"tags":16918,"thumbUrl":16919,"material":2164,"size":2165,"collection":139,"collections":16920,"showCount":16921,"zanCount":1104,"manualWeight":48,"mainColor":49},288332,"hong-bai-fu-rong-tu-ye-yi-li-di-288332","红白芙蓉图页一","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。",[7,209,23,24,28,27,83,404,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd98b04c253b7294f848e933790d49cf.jpg",[],83,{"id":16923,"slug":16924,"title":3005,"dynasty":18,"author":1721,"museum":311,"description":16925,"tags":16926,"thumbUrl":16927,"material":2164,"size":2165,"collection":139,"collections":16928,"showCount":16921,"zanCount":2209,"manualWeight":48,"mainColor":49},288270,"hua-lan-tu-zhao-chang-288270","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[7,209,23,24,83,28,27,369,407,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2085ee9a72b9b6a9215540541abb702a.jpg",[],{"id":16930,"slug":16931,"title":16932,"dynasty":99,"author":16420,"museum":311,"description":16933,"tags":16934,"thumbUrl":16936,"material":2164,"size":2165,"collection":139,"collections":16937,"showCount":16921,"zanCount":48,"manualWeight":48,"mainColor":94},287357,"xiao-xiang-guo-yu-tu-chang-juan-xia-chang-287357","潇湘过雨图长卷","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。",[7,209,23,24,25,173,226,16935,86,2694],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c0fd5961a81d394a14a9f0c62e6bd1.jpg",[],{"id":16939,"slug":16940,"title":3222,"dynasty":76,"author":3223,"museum":311,"description":16941,"tags":16942,"thumbUrl":16943,"material":139,"size":139,"collection":139,"collections":16944,"showCount":16921,"zanCount":2209,"manualWeight":48,"mainColor":94},229033,"si-ji-hua-niao-tu-ping-chen-mei-229033","此作用没骨法晕染牡丹，朱红、莹白、粉胭、鎏金的花瓣层叠柔润，将花王雍容之态尽展笔底。苍古顽石虬枝旁逸，墨色叶片浓淡相宜，衬得群芳愈发妍丽。\n\n两只春燕翩跹于空，一黑一白相映成趣，振翅姿态灵动鲜活，似携春风穿掠花间，让静雅画幅漾起融融生气。整体设色明妍雅致，工细中带着写意的松弛，将春日芳华揉入绢素，典雅娴静里满溢春日花鸟的鲜活意趣。",[7,209,23,28,27,83,369,12221,759,176,10012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c30e140c85d897bb067b888cfe4136.jpg",[],{"id":16946,"slug":16947,"title":16948,"dynasty":99,"author":16949,"museum":311,"description":16950,"tags":16951,"thumbUrl":16952,"material":139,"size":139,"collection":163,"collections":16953,"showCount":16921,"zanCount":2209,"manualWeight":48,"mainColor":94},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[7,209,23,24,25,173,177,105,29,865,108,109,174,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[163],{"id":16955,"slug":16956,"title":7353,"dynasty":18,"author":146,"museum":311,"description":16957,"tags":16958,"thumbUrl":16959,"material":139,"size":139,"collection":139,"collections":16960,"showCount":16921,"zanCount":48,"manualWeight":48,"mainColor":49},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[7,209,23,24,104,28,27,107,36,111,106,2310,34,114,1069,9982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],{"id":16962,"slug":16963,"title":16964,"dynasty":76,"author":16965,"museum":311,"description":16966,"tags":16967,"thumbUrl":16968,"material":3812,"size":16969,"collection":181,"collections":16970,"showCount":16921,"zanCount":48,"manualWeight":48,"mainColor":94},224169,"song-shu-tu-gua-zhou-li-fang-ying-224169","松树图挂轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[7,23,24,225,173,177,1365,229,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93021041cb164b00da3dbc86d0eb5b96.jpg","100x45",[181],{"id":16972,"slug":16973,"title":16974,"dynasty":189,"author":278,"museum":311,"description":16975,"tags":16976,"thumbUrl":16979,"material":139,"size":139,"collection":139,"collections":16980,"showCount":16921,"zanCount":1337,"manualWeight":48,"mainColor":49},223616,"shi-di-pu-sa-yi-ming-223616","十地菩萨","此作图绘天界胜境，祥云翻卷如绵，晕染出缥缈禅意。六位菩萨仪容温婉慈悲，宝冠璎珞层层叠叠，錾刻入微，尽显华贵庄严。衣袂敷色厚重雅致，朱砂暖艳撞映石青沉邃，晕染柔和自然，将织物肌理与垂坠感尽数展现。\n\n菩萨排布错落有致，或合掌凝思，或垂目禅定，法相自带沉静祥和的气韵。线条婉转流畅，勾勒出体态舒展柔和，细节处纹饰精巧细腻，将工笔重彩的精妙匠艺展露无遗，神性之美与世俗工巧相融，满溢静谧的宗教感染力。",[7,16974,23,28,27,243,106,245,14059,16977,16978],"华贵庄严","沉静祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8e98cf3a4bed512db310fe30d0f538.jpg",[],{"id":16982,"slug":16983,"title":16984,"dynasty":18,"author":278,"museum":206,"description":16985,"tags":16986,"thumbUrl":16987,"material":67,"size":16988,"collection":42,"collections":16989,"showCount":16921,"zanCount":48,"manualWeight":48,"mainColor":49},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[7,23,24,225,27,29,177,734,1775,4656,266,34,175,35,558,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[42,181,163],{"id":16991,"slug":16992,"title":16993,"dynasty":76,"author":803,"museum":311,"description":16994,"tags":16995,"thumbUrl":16998,"material":40,"size":16999,"collection":44,"collections":17000,"showCount":16921,"zanCount":2209,"manualWeight":48,"mainColor":94},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[7,23,24,25,27,28,2158,29,1028,245,107,136,34,176,284,16996,436,16997,3202],"仙人","祝寿元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[44,45],{"id":17002,"slug":17003,"title":17004,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":17005,"thumbUrl":17008,"material":27,"size":1608,"collection":139,"collections":17009,"showCount":16921,"zanCount":2209,"manualWeight":48,"mainColor":94},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a",[7,209,23,24,81,27,28,1126,8725,83,84,229,1173,1629,737,284,17006,17007,759,176,386],"色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg",[],{"id":17011,"slug":17012,"title":17013,"dynasty":18,"author":5793,"museum":1666,"description":17014,"tags":17015,"thumbUrl":17016,"material":573,"size":17017,"collection":42,"collections":17018,"showCount":16921,"zanCount":48,"manualWeight":48,"mainColor":49},221602,"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[7,23,24,225,27,243,106,229,865,7834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[42,181],{"id":17020,"slug":17021,"title":17022,"dynasty":18,"author":2297,"museum":20,"description":17023,"tags":17024,"thumbUrl":17025,"material":40,"size":17026,"collection":42,"collections":17027,"showCount":16921,"zanCount":2209,"manualWeight":48,"mainColor":49},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[7,23,24,225,28,27,83,808,4451,11111,866,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[42,90,45],{"id":17029,"slug":17030,"title":17031,"dynasty":18,"author":2297,"museum":206,"description":17032,"tags":17033,"thumbUrl":17035,"material":17036,"size":17037,"collection":42,"collections":17038,"showCount":16921,"zanCount":2209,"manualWeight":48,"mainColor":49},221591,"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪“画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，超亦能作山水小景。构思精妙，功力深湛，雄伟处动人心魄。”所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[7,209,23,24,25,27,28,83,1322,386,229,17034],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 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斗茶 的卖茶人身上，每一个活生生的形象，把宋代街头流行的斗茶场景最大程度地展现在世人面前。这幅画署名刘松年，但笔墨风格更接近于李嵩。",[7,28,244,27,106,228,120,4228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8c9d6e6c9da08adc2121f8104eb9e6.jpg","27.2x25.7",[44],{"id":17112,"slug":17113,"title":17114,"dynasty":99,"author":1804,"museum":311,"description":1805,"tags":17115,"thumbUrl":17118,"material":123,"size":17119,"collection":44,"collections":17120,"showCount":16921,"zanCount":1104,"manualWeight":48,"mainColor":49},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)",[7,23,25,27,28,104,106,107,108,109,29,34,1069,176,84,111,17116,115,298,1434,4140,17117,175],"火焰","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[44],{"id":17122,"slug":17123,"title":17124,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":17125,"thumbUrl":17126,"material":699,"size":1567,"collection":139,"collections":17127,"showCount":16921,"zanCount":48,"manualWeight":48,"mainColor":49},214346,"san-jue-shan-shui-ce-17-hua-yan-214346","三绝山水册-17",[7,23,81,27,29,734,384,175,282,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c80597d2f71227e356f687abf8c999.jpg",[],{"id":17129,"slug":17130,"title":1136,"dynasty":18,"author":1137,"museum":311,"description":17131,"tags":17132,"thumbUrl":17133,"material":2164,"size":2165,"collection":139,"collections":17134,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":49},288293,"pi-pa-shan-niao-tu-lin-chun-288293","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[7,23,209,83,28,27,1140,266,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12c32701a0210a0cc337e0aba0e608c.jpg",[],82,{"id":17137,"slug":17138,"title":17139,"dynasty":18,"author":3253,"museum":206,"description":17140,"tags":17141,"thumbUrl":17142,"material":67,"size":17143,"collection":139,"collections":17144,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":49},227601,"mo-zhu-zhou-wen-tong-227601","墨竹轴","国北宋末年画家文同的存世代表作。文同 (1018～1079) 字与可，自号笑笑先生、锦江道人，世称石室先生，梓潼(今属四川省)人。皇祐年间进士，元丰初出知湖州。善诗文，工书画，尤善画墨竹。此图绢本，水墨，纵131.6厘米，横105.4厘米。画墨竹一枝，作弯曲状，由左上斜向右下方。笔法严谨而潇洒，枝叶劲挺繁密，繁而不乱，密中有疏，竹叶以浓墨为面，淡墨为背，墨色清润，阴阳向背层次分明，开后世墨竹之先河。此图未署作者名款，有“静闲□室”、“文同与可” 2印，上方有明王直、陈循德2家为彦谥题诗。清宫旧藏,有清内府嘉庆、宣统印各一方。现藏台北故宫博物院。",[7,209,23,24,225,173,2694,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5295f96be134d53730e65174f29213.jpg","纵113.6厘米，横105.4厘米",[],{"id":17146,"slug":17147,"title":17148,"dynasty":18,"author":7779,"museum":311,"description":17149,"tags":17150,"thumbUrl":17151,"material":139,"size":139,"collection":139,"collections":17152,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":49},227513,"ming-huang-bi-shu-gong-tu-zhou-guo-zhong-shu-227513","明皇避暑宫图轴","《明皇避暑宫图》是北宋画家郭忠恕所创作的一幅墨笔画 ，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[7,23,24,225,104,28,27,29,107,114,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],{"id":17154,"slug":17155,"title":17156,"dynasty":54,"author":17157,"museum":311,"description":17158,"tags":17159,"thumbUrl":17160,"material":139,"size":139,"collection":139,"collections":17161,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":49},227256,"xi-ma-tu-ye-li-yu-227256","戏马图页","李煜","李煜（937年5月5日－978年8月15日），又称李后主，为南唐的末代君主，徐州人。李煜原名从嘉，字重光，号锺山隐士、锺锋隠者、白莲居士、莲峰居士等。李煜在南唐灭亡后被北宋俘虏，但是却成为了中国历史上首屈一指的词人，获誉为“千古词帝”，作品千古流名。",[7,209,23,24,27,28,106,150,384,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f5c0df0888c4e88dad6808987fed8e.jpg",[],{"id":17163,"slug":17164,"title":11858,"dynasty":76,"author":17165,"museum":311,"description":17166,"tags":17167,"thumbUrl":17168,"material":841,"size":17169,"collection":90,"collections":17170,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":94},223123,"song-shou-tu-ci-xi-223123","慈禧","画上绘青雀二只，体形修长，尾巴炫丽，一只立于松枝俯身正于下方的另一只呼应。题识：光绪己丑年冬下浣御笔",[7,23,209,27,28,83,403,266,405,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e79512e4e37d1650006f4772e9ece27.jpg","129×64.5cm",[90,45],{"id":17172,"slug":17173,"title":17174,"dynasty":99,"author":17175,"museum":1529,"description":17176,"tags":17177,"thumbUrl":17178,"material":40,"size":17179,"collection":90,"collections":17180,"showCount":17135,"zanCount":2209,"manualWeight":48,"mainColor":49},222661,"guo-se-tian-xiang-tu-ma-yi-222661","国色天香图","马逸","《国色天香图》是一幅富丽堂皇的工笔重彩花卉图。图中的牡丹花开娇艳，明丽动人，色彩丰富饱满，姿态优雅，设色极其讲究，勾线细致圆润。\n而花下奇石则用积墨与淡墨晕染相结合绘出，以石绿、石青略染。兰花以重粉罩染，胭脂点蕊，素雅动人。地面以淡彩渲染，营造出空间的伸缩感。《国色天香图》堪称“中国牡丹第一图”，是中国古代牡丹绘画最杰出的作品。",[7,23,209,28,27,83,369,406,229,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59572009fd6e71cd365f81d2e0b28489.jpg","纵101.7厘米，横49.5厘米",[90,45],{"id":17182,"slug":17183,"title":17184,"dynasty":18,"author":1419,"museum":260,"description":17185,"tags":17186,"thumbUrl":17187,"material":573,"size":17188,"collection":42,"collections":17189,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":94},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[7,23,24,209,27,104,29,107,175,2279,34,557,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[42,181],{"id":17191,"slug":17192,"title":11544,"dynasty":18,"author":2297,"museum":206,"description":17193,"tags":17194,"thumbUrl":17195,"material":67,"size":17196,"collection":42,"collections":17197,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":49},221597,"feng-yu-gui-mu-tu-li-di-221597","《风雨归牧图》描绘的是两个牧童赶牛归家的场景，整个画面勾点结合，浓淡相济，层次丰富，朦朦胧胧，带来了凤雨欲来，细雾先到的清润之感。\n这幅画表现的是风雨刚来的一刹那，柳梢被风吹得摇摆，两个骑牛的牧童，急忙地往家跑。一个匍匐在牛背，用手扯住牧笠，挡住急风骤雨；另一个帽子已被风吹落，在迷濛的空间，可以依稀看到倾斜的雨流。诗堂有题诗一首写道：“冒雨衔风两牧儿，笠蓑低绾绿杨枝，深宫玉食何从得，稼穑艰难岂不知。”署款“缉熙殿书”，钤“御前之印”一玺。",[7,209,23,24,28,27,151,808,384,1003,11547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[42,44,45],{"id":17199,"slug":17200,"title":17201,"dynasty":18,"author":17202,"museum":20,"description":17203,"tags":17204,"thumbUrl":17205,"material":5507,"size":17206,"collection":328,"collections":17207,"showCount":17135,"zanCount":2209,"manualWeight":48,"mainColor":94},221220,"xing-shu-zi-shu-shi-juan-lin-bu-221220","行书自书诗卷","林逋","此卷是林逋归隐西湖孤山时所作，共5首诗，除第2首是五言诗外，其余均为七言诗。\n据诗后林逋自识：“時皇上登寶位歲夏五月”，可知此作品写于仁宗天圣元年癸亥（1023年），林逋时年57岁，其书体瘦劲，秀逸，笔法厚重，风致绰约，与时人李建中风骨俊整的书风极为接近。诗后有苏轼书七言诗《书和靖林处士诗后》，无年款，据徐邦达先生考证可能是元祐四、五年间苏轼（时年约54岁）第二次到杭州作刺史时所书。此书藏锋敛锷，姿媚可爱，是罕见的苏轼传世佳作之一。这两段名人书法相映生辉，珠联璧合，实为难得的珍宝。\n后纸有乾隆皇帝用苏轼原韵五题御制诗题记二则（其中一则由董诰奉敕而书），又有明王世贞、王世懋，清王鸿绪三家题跋。\n本幅钤有“濟陽文府”，清王鸿绪、清内府等鉴藏印。\n宋内府《宣和书谱》，明汪砢玉《珊瑚网》、詹景凤《东图玄览》，清顾复《平生壮观》、吴其贞《书画记》、安岐《墨缘汇观·续编》、卞永誉《式古堂书画汇考》、高士奇《江村消夏录》、吴升《大观录》、阮元《石渠随笔》、内府《石渠宝笈·续编》等书有著录。",[7,24,25,178,86,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349bd3fcdb871f93ccb96a158d67a788.jpg","纵32厘米，横302.6厘米",[328],{"id":17209,"slug":17210,"title":17211,"dynasty":54,"author":2644,"museum":311,"description":17212,"tags":17213,"thumbUrl":17214,"material":527,"size":17215,"collection":181,"collections":17216,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":49},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[7,23,24,25,173,29,34,107,178,263,177,2352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[181,45],{"id":17218,"slug":17219,"title":17220,"dynasty":54,"author":3797,"museum":206,"description":17221,"tags":17222,"thumbUrl":17223,"material":302,"size":17224,"collection":45,"collections":17225,"showCount":17135,"zanCount":2209,"manualWeight":48,"mainColor":49},221076,"yuan-ma-tu-han-gan-221076","猿马图","此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[7,209,23,24,225,10270,27,28,11064,150,384,558,4272,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad40c5024213011775af0c15a6fe1dac.jpg","136.8x48.4",[45,1896],{"id":17227,"slug":17228,"title":17229,"dynasty":99,"author":2494,"museum":206,"description":17230,"tags":17231,"thumbUrl":17232,"material":3812,"size":17233,"collection":181,"collections":17234,"showCount":17135,"zanCount":2209,"manualWeight":48,"mainColor":94},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[7,23,24,225,173,29,177,108,109,34,176,114,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[181,163],{"id":17236,"slug":17237,"title":17238,"dynasty":189,"author":645,"museum":206,"description":17239,"tags":17240,"thumbUrl":17241,"material":67,"size":17242,"collection":181,"collections":17243,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":49},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[7,23,24,225,27,29,1365,174,106,176,34,13663,1231,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[181,45],{"id":17245,"slug":17246,"title":17247,"dynasty":189,"author":645,"museum":78,"description":17248,"tags":17249,"thumbUrl":17250,"material":67,"size":17251,"collection":181,"collections":17252,"showCount":17135,"zanCount":2209,"manualWeight":48,"mainColor":94},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[7,23,24,25,173,178,86,29,177,16890,6963,30,109,6384,34,174,266,31,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[181,163],{"id":17254,"slug":17255,"title":17256,"dynasty":189,"author":1539,"museum":132,"description":17257,"tags":17258,"thumbUrl":17259,"material":409,"size":17260,"collection":181,"collections":17261,"showCount":17135,"zanCount":1337,"manualWeight":48,"mainColor":94},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[7,23,24,25,173,29,177,86,178,263,734,282,384,108,174,226,3899,1265,37,3024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[181],{"id":17263,"slug":17264,"title":17265,"dynasty":99,"author":1362,"museum":3188,"description":17266,"tags":17267,"thumbUrl":17268,"material":409,"size":17269,"collection":181,"collections":17270,"showCount":17135,"zanCount":2209,"manualWeight":48,"mainColor":94},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[7,23,24,225,173,177,29,34,1423,866,109,176,37,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[181],{"id":17272,"slug":17273,"title":7722,"dynasty":18,"author":3884,"museum":447,"description":17274,"tags":17275,"thumbUrl":17277,"material":123,"size":17278,"collection":90,"collections":17279,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":49},219342,"shuang-e-tu-cui-bai-219342","图为一池景，水面波光粼粼，荷叶点缀，前面一只白鹅，后面紧跟着一只长着棕白羽毛的大鹅，水下鹅足在用力划桨。",[7,23,24,28,27,83,7725,282,314,137,940,67,8725,17276],"自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F655339b4f302564650f45fb89c765f64.jpg","27x34.10cm",[90],{"id":17281,"slug":17282,"title":17283,"dynasty":189,"author":645,"museum":206,"description":17284,"tags":17285,"thumbUrl":17286,"material":123,"size":17287,"collection":42,"collections":17288,"showCount":17135,"zanCount":2209,"manualWeight":48,"mainColor":94},218971,"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[7,23,24,1352,27,29,177,175,403,176,108,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[42],{"id":17290,"slug":17291,"title":1462,"dynasty":18,"author":708,"museum":311,"description":17292,"tags":17293,"thumbUrl":17294,"material":327,"size":17295,"collection":181,"collections":17296,"showCount":17135,"zanCount":1337,"manualWeight":48,"mainColor":49},218915,"shan-shui-tu-xia-gui-218915","这幅画描绘了一个平静安详的山居，远处的山峰高耸入云，瀑布和泉水直泻而下，小屋散落一地，优雅的人和伐木工在其中徘徊。整幅画的笔触层次分明，森林和山上的明暗对比明显。这幅画上看不到艺术家的签名，但从原始签名来看，应该是夏圭。然而，山、林、坡、石的布局，以及滴水不漏的笔墨，都显示出明代浙江画派的风格，这肯定是错误地归于后来的艺术家。",[7,209,23,24,173,27,177,29,229,866,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20501644fd7647ba471c42b77fc18e2.jpg","47.6x32.5",[181],{"id":17298,"slug":17299,"title":17300,"dynasty":189,"author":3051,"museum":206,"description":17301,"tags":17302,"thumbUrl":17303,"material":123,"size":17304,"collection":45,"collections":17305,"showCount":17135,"zanCount":1337,"manualWeight":48,"mainColor":49},218779,"wu-shu-tu-qian-xuan-218779","五蔬图","数丛蔬果错落铺陈，叶片舒展如翠羽轻振，或浓墨点染见苍劲，或淡彩晕开显清柔，脉络隐现间藏着盎然生趣。茎秆以细笔勾勒，挺拔中带几分随性，似能嗅到泥土里的清芬气息。文人之笔写寻常风物，让不起眼的蔬食脱去尘俗，生出雅致姿态——无浓艳设色，浅淡晕染里见笔墨细腻；无繁复构图，疏朗排布中透田园闲静。寻常蔬果化作案上清供，藏着古人对生活本真的热爱，对平淡之美的珍视，笔端流转的，是烟火气里的诗意与从容。",[7,209,23,24,25,27,28,12753,4676,4675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe270b6d6f8ab98ce45b7b1bbffeb8e54.jpg","70.77x129.68",[45],{"id":17307,"slug":17308,"title":17309,"dynasty":76,"author":15455,"museum":20,"description":17310,"tags":17311,"thumbUrl":17313,"material":409,"size":17314,"collection":181,"collections":17315,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":94},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。明末生员，家富收藏，故精鉴别，擅画山水，为“海阳四家”之一。清初著名画家，书法家和诗人。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[7,23,24,225,173,177,29,37,1365,30,770,17312,176,34],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[181],{"id":17317,"slug":17318,"title":2202,"dynasty":99,"author":1362,"museum":20,"description":17319,"tags":17320,"thumbUrl":17321,"material":409,"size":17322,"collection":181,"collections":17323,"showCount":17135,"zanCount":48,"manualWeight":48,"mainColor":94},218341,"shan-shui-ce-wen-zheng-ming-218341","此图左开为作者图，右开有其弟子周天球、陆师道、王穉登的应景题诗。\n根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[7,23,209,81,173,29,34,35,558,109,86,178,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78e6d4341e71339b18dae6e2a968838.jpg","28.5×15.8cm",[181],{"id":17325,"slug":17326,"title":1792,"dynasty":18,"author":1793,"museum":311,"description":17327,"tags":17328,"thumbUrl":17329,"material":2164,"size":2165,"collection":139,"collections":17330,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":49},288508,"qing-luan-xiao-si-tu-li-cheng-288508","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[7,209,23,24,29,225,173,177,557,107,9908,108,109,466,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],81,{"id":17333,"slug":17334,"title":17335,"dynasty":99,"author":100,"museum":311,"description":17336,"tags":17337,"thumbUrl":17338,"material":2164,"size":2165,"collection":139,"collections":17339,"showCount":17331,"zanCount":2209,"manualWeight":48,"mainColor":49},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[7,209,23,24,25,29,27,177,105,557,34,35,1755,108,109,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],{"id":17341,"slug":17342,"title":17343,"dynasty":99,"author":397,"museum":20,"description":17344,"tags":17345,"thumbUrl":17346,"material":699,"size":139,"collection":328,"collections":17347,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":94},240490,"xu-wei-shi-juan-xu-wei-240490","徐渭诗卷","此卷书篇幅较长，从始至终一直保持着良好的书写状态，一气呵成。在运笔方面虽不如草书奔放连绵，但却比楷书流畅自如，字形变化多样，或横斜，或倚侧，皆随意为之，毫不矫揉造作，故有浑朴天成之趣。在笔画的提、按变化上有时也参用隶书之法，使所书之字更富有古雅的情致，不失为徐氏精于运笔的行书之杰作。在布局与气势上深得米芾书法的神韵，兼具黄、苏的笔意。作品风格与徐渭平日恣肆放纵、狂傲不驯的用笔有所不同，似为其晚年作品。",[7,86,178,2570,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ec447aa8da7818e7c4392d2866cbaa.jpg",[328],{"id":17349,"slug":17350,"title":6990,"dynasty":54,"author":239,"museum":132,"description":17351,"tags":17352,"thumbUrl":17353,"material":67,"size":17354,"collection":139,"collections":17355,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":49},232268,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-232268","吴道子勤奋好学，天资过人，借鉴古法，画技创新，打破沿袭顾恺之的游丝描，开创兰叶描，把复杂的物体形态凹凸面、阴阳面，归纳为不可再减的“线”，画出物体的线条性格，探索线条变化规律，力求每条线符合造型传神的要求，《八十七神仙卷》就是这样一幅充满线条美妙韵律的千古神作。\n《八十七神仙卷》是描绘八十七位仙人去朝拜元始天尊场景，画面人物描绘夸张，帝王高大魁梧，神圣威严，面相和蔼，头罩光环，构图以帝王为中心分布聚集，左右端是身披铠甲的护将武士，须发如生，毛根出肉，怒目圆睁，握拳拔剑。最为引人注目是出尘脱俗，如花似玉，明艳动人，顾盼生姿的数十位仙女，吹奏打板，抚琴托盘，捧花献果，举旗摇幡，长裙肥袖，满壁风动，发髻头饰，高耸光鲜，神态自若，形象各异。\n《八十七神仙卷》画面阵容恢弘，排布随意，主角突出，层次分明，人物神情丰富，形态举止自然，写实与艺术夸张手法结合并用，线条流畅如水，舞动飘逸如风，瑞气喷涌如云，天堂景致如虹，是一幅匠心独运神来之笔，画苑冠冕千古名作\n《八十七神仙卷》帝王天仙、武将文官等男士仙人造像，这些神仙人物以凡间人物为创作原形。《八十七神仙卷》是一幅道教画，道教是惟一在中国本土发育的宗教，由先秦道家思想演化而来，尊老子为道祖，奉老子著作《道德经》为主要经典，信仰尊道贵德，认为道是产生天地万物的本源，人和万物由道生、由德育，道可以修得升天成仙，长生不死。道教神仙众多，既有来源于中国古代神话人物，又有历朝褒奖、社会崇拜的真人，成为凡界修道成仙的范例，形成庞大繁杂的神仙谱系。道教神仙故有凡间人物化身，有以普通人面貌隐迹凡世。\n《八十七神仙卷》仙女众多，仙女的形象、发髻、头饰、衣衫及手持晋献花篮、托盘、果品，吹奏器乐、举旗打幡等，构成仙女喜乐，花枝招展，祥云缥缈，众神欢颜的天堂盛景，画卷中各式仙女造型是研究唐风民俗的珍贵资料\n仙女发饰，呈现出奇异多彩，令人眼花缭乱，一千多年前古代妇女发艺，放在当代也是时尚造型，媲美现代科技手段的发艺打理，由此可见作者对大唐皇室贵族妇女梳妆研究充分，观察细致，作者的社会生活见识广泛，发艺素材积累深厚，创作随心所欲，绘画信手拈来，塑造出一群貌美如花形象鲜活的天堂仙女。\n吴道子身处唐朝中期，是大唐历史最辉煌时代，史称“开元盛世”或“开元之治”，社会经济空前繁荣，国力空前强盛，人口大幅度增长，商业发达，城市繁华，上流社会时尚流行奢靡之风，来自波斯的西域工匠，带来金银珠宝与精湛加工技艺，把大唐金饰制品与华贵头饰，从皇室走出成为富豪贵族的奢侈配置。\n唐代画家周昉、张萱、王贞白等民间仕女画的片段，发式造型相似画卷中仙女，但没有佩戴耀目华贵的头饰，华贵头饰显然不属于普通妇女。在吴道子笔下仙女，不仅发型发饰具有大唐韵味，而且体现唐代崇尚妇女身形微胖的审美观念，仙女们个个脸型圆润，体态丰腴，气质雍容，超凡脱俗。\n《八十七神仙卷》服饰与纹样局部，白描有条不紊，构图复杂繁密，铁线萦绕，丝丝入扣，显示了绘画的精细功力，把仙人衣着刻画的风舞飘动，牵之欲出。唐代服饰是以社会经济发达为基础，纺织、印染技术达到了历史巅峰，为服饰文化提供了物质条件。唐代服饰具有多样性、开放性、奢华性的特点，多样性表现为融合多民族文化与中外文化的款式设计；开放性体现在造型样式方面如衣裙、肩披、围腰的“粉胸半掩疑暗雪”的装扮，图16即是唐代画家张萱《捣练图》中女性服饰图样；奢华性是服饰的绚丽多彩与华贵配饰及梳妆相搭，唐诗“眉黛夺得萱草色 红裙妒杀石榴花”，就是对唐代仕女及服饰的美艳写照。\n吴道子把唐代服饰风貌搬上《八十七神仙卷》，尤其衣衫纹样画法，线条密集、画迹流畅、繁杂有序、柔韧雄放、粗细相间、交织如网、鲜活灵动、造型夸张的笔法，后世称为“吴家样”，对衣饰飘舞形象称为“吴带当风”画法，表现了后人对吴道子超凡画技与与作品魅力的敬仰崇拜。\n唐朝从“贞观之治”到“开元之治”期间一百多年，虽有外患内乱但终被平息，国家政治局势基本稳定，经济繁荣昌盛，也是文化艺术发展的最好时代，涌现多位载入史册的文化名人，带领唐朝的文学诗歌、书法绘画、音乐舞蹈等取得了辉煌成就。《八十七神仙卷》仙女群组形象，有取材唐朝宫廷乐舞的身影",[7,23,24,25,244,243,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa144931d6cc1956dc7dacc5dd4c037.jpg","画芯长800厘米、宽75厘米",[],{"id":17357,"slug":17358,"title":17359,"dynasty":76,"author":963,"museum":311,"description":17360,"tags":17361,"thumbUrl":17362,"material":139,"size":139,"collection":139,"collections":17363,"showCount":17331,"zanCount":2209,"manualWeight":48,"mainColor":49},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[7,23,24,25,27,29,177,86,178,263,734,282,108,107,34,558,1871,4432,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":17365,"slug":17366,"title":17367,"dynasty":18,"author":278,"museum":311,"description":17368,"tags":17369,"thumbUrl":17370,"material":139,"size":139,"collection":139,"collections":17371,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":94},227377,"qiu-lan-zhan-rui-tu-yi-ming-227377","秋兰绽蕊图","图绘秋兰数茎，兰叶修长劲挺，兰花吐蕊，清丽雅逸。对开有清乾隆御题诗一首：“写兰反楚辞，亦足终古矣。底识其为秋，疏叶濩冷蕊。意出常人表，或远代其子。”钤“八征耄念之宝”、“自强不息”、“太上皇帝之宝”等玺印。",[7,23,24,1352,27,83,406,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656591bb10af68e7bd8abcd88003f28a.jpg",[],{"id":17373,"slug":17374,"title":17375,"dynasty":76,"author":278,"museum":311,"description":17376,"tags":17377,"thumbUrl":17378,"material":139,"size":139,"collection":139,"collections":17379,"showCount":17331,"zanCount":1337,"manualWeight":48,"mainColor":49},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[7,209,23,24,225,28,27,104,106,107,108,109,29,34,84,175,9597,298,4121,114,115,15978],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":17381,"slug":17382,"title":17383,"dynasty":76,"author":12204,"museum":20,"description":17384,"tags":17385,"thumbUrl":17386,"material":67,"size":17387,"collection":139,"collections":17388,"showCount":17331,"zanCount":1337,"manualWeight":48,"mainColor":94},223245,"bao-xiang-guan-yin-tu-ding-guan-peng-223245","宝相观音图","观音为佛教大乘菩萨之一，佛经上说此菩萨能“救苦难众生”，示现种种形象，名为“普门示众”，一般形态多作女相。此图绘千手宝相观音一尊，各手分别持小斧、莲花、宝剑、弓箭等各种法宝；头上祥云朵朵飘荡，云中托出小佛十尊，花朵飞扬。观音面容和手臂作多层烘托，有较强的立体质感。说明作者在继承传统技法的同时，也吸收了西洋画的明暗、透视等特点，形成了自己的风格。",[7,23,24,28,27,243,106,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37e22633a51a0e53a44d585e1614e45.jpg","122.7x58.65",[],{"id":17390,"slug":17391,"title":17392,"dynasty":18,"author":1395,"museum":20,"description":17393,"tags":17394,"thumbUrl":17395,"material":67,"size":17396,"collection":42,"collections":17397,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":49},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[7,209,23,24,81,1352,27,151,865,266,263,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[42,44,45],{"id":17399,"slug":17400,"title":17401,"dynasty":18,"author":418,"museum":56,"description":17402,"tags":17403,"thumbUrl":17404,"material":5779,"size":17405,"collection":328,"collections":17406,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":49},221348,"cai-xing-chi-juan-zhao-ji-221348","蔡行敕卷","此帖乃宋徽宗赵佶不允蔡行辞殿中省事之手敕。行书，凡二十一字，共一百二十七字。此敕行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。\n此卷是宋徽宗不准蔡行辞去领殿中省之职所颁的敕书全文行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。",[7,209,23,24,25,178,86,263,699,8289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deae8a7337124f7de79f711ec96d05f.jpg","行书35.5 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cm",[328],{"id":17408,"slug":17409,"title":17410,"dynasty":1483,"author":3526,"museum":206,"description":17411,"tags":17412,"thumbUrl":17413,"material":139,"size":17414,"collection":328,"collections":17415,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":94},221031,"ping-an-he-ru-feng-ju-san-tie-juan-wang-xi-zhi-221031","平安何如奉橘三帖卷","从西元六世纪的南朝以来，上至帝王下至百姓都喜好王羲之等名家的信札，由于此类珍贵的书迹都收藏在皇宫之中，即使是平民收藏家也不会轻示于人。有时帝王为分送亲信，或是担心真迹观赏过多次会有伤害，常会请人以双勾填墨的方式将书迹做复制，此三帖即是摹本。",[7,24,86,178,25,263,622,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcca10b4a733dd2b18c3b7008fed486.jpg","24.7x47.3",[328,2097],{"id":17417,"slug":17418,"title":17419,"dynasty":99,"author":397,"museum":1098,"description":3398,"tags":17420,"thumbUrl":17421,"material":409,"size":3401,"collection":139,"collections":17422,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":94},220100,"shi-er-mo-hua-tu-juan-3-xu-wei-220100","十二墨花图卷-3",[7,209,23,24,25,173,83,226,227,928,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c5fdddd68d2662d99287215d9176.jpg",[],{"id":17424,"slug":17425,"title":17426,"dynasty":76,"author":12256,"museum":447,"description":17427,"tags":17428,"thumbUrl":17429,"material":123,"size":17430,"collection":181,"collections":17431,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":49},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[7,23,24,209,104,27,28,107,29,108,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[181],{"id":17433,"slug":17434,"title":17435,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":17436,"thumbUrl":17437,"material":88,"size":1533,"collection":139,"collections":17438,"showCount":17331,"zanCount":2209,"manualWeight":48,"mainColor":94},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭",[7,23,24,81,173,27,29,175,866,1423,109,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg",[],{"id":17440,"slug":17441,"title":12228,"dynasty":76,"author":17442,"museum":1098,"description":17443,"tags":17444,"thumbUrl":17445,"material":88,"size":139,"collection":45,"collections":17446,"showCount":17331,"zanCount":1337,"manualWeight":48,"mainColor":49},219257,"cao-chong-tu-shang-rui-219257","上睿","画面以古雅绢色铺底，苍劲岩石兀立其间，其上百合舒展素瓣，清雅动人；旁侧藤蔓牵绕，细碎小花点缀，更添自然生趣。一只雀鸟振翅而来，羽翼纤毫毕现，姿态灵动似欲停驻花间。笔墨细腻处见功夫：花卉勾勒精致，叶片脉络分明；岩石皴擦有致，尽显朴拙质感。设色淡雅温润，白百合与暖棕背景相映成趣，整体氛围静谧中藏生机，仿佛能闻得隐于画间的花香鸟语，尽显清代花鸟画作的雅致意韵。",[7,23,24,28,27,83,229,266,989,558,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c78ce61f7fcee14a5c12b26c976e97.jpg",[45],{"id":17448,"slug":17449,"title":17450,"dynasty":76,"author":1215,"museum":20,"description":17451,"tags":17452,"thumbUrl":17453,"material":409,"size":17454,"collection":181,"collections":17455,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":94},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[7,209,23,24,225,173,177,2352,29,734,34,35,37,109,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[181],{"id":17457,"slug":17458,"title":17459,"dynasty":18,"author":1395,"museum":206,"description":17460,"tags":17461,"thumbUrl":17464,"material":123,"size":17465,"collection":42,"collections":17466,"showCount":17331,"zanCount":48,"manualWeight":48,"mainColor":49},218981,"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[7,209,23,24,173,177,106,866,17462,29,17463],"山岩","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","22.4x23.8",[42],{"id":17468,"slug":17469,"title":17470,"dynasty":189,"author":17471,"museum":206,"description":17472,"tags":17473,"thumbUrl":17474,"material":88,"size":17475,"collection":181,"collections":17476,"showCount":17331,"zanCount":1337,"manualWeight":48,"mainColor":94},218433,"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[7,23,25,173,177,29,1265,7690,34,31,32,1843,7944,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[181],{"id":17478,"slug":17479,"title":8824,"dynasty":18,"author":17480,"museum":132,"description":17481,"tags":17482,"thumbUrl":17483,"material":123,"size":139,"collection":181,"collections":17484,"showCount":17331,"zanCount":2209,"manualWeight":48,"mainColor":49},214826,"gui-zhuang-tu-li-xi-cheng-214826","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[7,23,24,1352,29,27,177,734,282,106,35,384,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[181],{"id":17486,"slug":17487,"title":17488,"dynasty":99,"author":1362,"museum":206,"description":17489,"tags":17490,"thumbUrl":17494,"material":409,"size":17495,"collection":328,"collections":17496,"showCount":17331,"zanCount":2209,"manualWeight":48,"mainColor":49},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[7,24,86,225,178,173,263,1775,734,384,17491,770,17492,17493],"野水","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2",[328],{"id":17498,"slug":17499,"title":17500,"dynasty":99,"author":2146,"museum":206,"description":17501,"tags":17502,"thumbUrl":17504,"material":712,"size":17505,"collection":139,"collections":17506,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":94},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[7,23,209,25,24,244,173,105,106,17503,1640,1112,34,176,178,86],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":17509,"slug":17510,"title":17511,"dynasty":99,"author":817,"museum":20,"description":17512,"tags":17513,"thumbUrl":17514,"material":139,"size":139,"collection":139,"collections":17515,"showCount":17507,"zanCount":48,"manualWeight":48,"mainColor":94},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[7,209,23,24,25,178,173,27,177,29,174,106,176,34,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":17517,"slug":17518,"title":17519,"dynasty":277,"author":278,"museum":311,"description":17520,"tags":17521,"thumbUrl":17522,"material":2164,"size":2165,"collection":139,"collections":17523,"showCount":17507,"zanCount":48,"manualWeight":48,"mainColor":94},231689,"shan-cha-hua-xiao-qin-tu-zhou-yi-ming-231689","山茶花小禽图轴","此作兼用工笔与写意，老干虬曲苍劲，山茶厚叶凝翠，丹花灼灼绽放，枝上小禽侧目伫立，灵动娇憨的神态跃然纸上。设色雅致沉稳，花叶晕染细腻柔和，禽鸟绒羽的质感描摹入微，既有院体花鸟的精工之态，又饱含文人画的清逸格调。\n\n题诗与画作相映成趣，将探春报春之意藏于景中，把早春山茶盛放、幽禽暂驻的清寂生机铺陈开来，一花一禽皆含雅意，尽显传统花鸟的悠然禅意。",[7,23,24,225,27,28,83,10964,266,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a1618f40479b25ced4925a880d9b34.jpg",[],{"id":17525,"slug":17526,"title":17527,"dynasty":99,"author":278,"museum":9826,"description":17528,"tags":17529,"thumbUrl":17533,"material":527,"size":17534,"collection":139,"collections":17535,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":49},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[7,23,25,27,28,177,29,808,8436,150,11053,4778,17530,17531,11064,34,558,468,4272,17532],"山羊","狮子","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],{"id":17537,"slug":17538,"title":17539,"dynasty":54,"author":485,"museum":311,"description":17540,"tags":17541,"thumbUrl":17542,"material":139,"size":139,"collection":139,"collections":17543,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":49},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 绢本",[7,209,23,24,25,28,27,106,11709,3609,63,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99416fb53247fd7f686c65bbf85a9c.jpg",[],{"id":17545,"slug":17546,"title":17547,"dynasty":76,"author":17548,"museum":311,"description":17549,"tags":17550,"thumbUrl":17551,"material":139,"size":139,"collection":139,"collections":17552,"showCount":17507,"zanCount":48,"manualWeight":48,"mainColor":255},224343,"she-se-mu-dan-zhou-fan-qi-224343","设色牡丹轴","樊圻","这幅作品以湖石为骨，牡丹为魂，湖石以浓墨勾勒皴擦，嶙峋苍古，朴拙沉厚，稳稳托举花株。牡丹以没骨晕染，粉瓣柔润层叠，白蕊轻透蓬松，自带雍容妍态；绿叶以汁绿晕染出阴阳向背，鲜活舒展。\n笔墨兼容工致与写意，设色秀雅沉静，将牡丹华贵与湖石清奇相融，柔刚相济。整幅画面静穆中藏生机，雅致脱俗，尽显花石相映的清幽意趣。",[7,315,23,225,27,28,83,369,229,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dfde28aebea23e14127821d8f6868d.jpg",[],{"id":17554,"slug":17555,"title":17556,"dynasty":18,"author":278,"museum":20,"description":16176,"tags":17557,"thumbUrl":17559,"material":40,"size":17560,"collection":139,"collections":17561,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":49},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷",[7,23,209,24,25,28,27,106,29,808,8436,4606,4451,17558,2234,34,176,266,13899,2161],"蛇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":17563,"slug":17564,"title":17565,"dynasty":76,"author":278,"museum":311,"description":17566,"tags":17567,"thumbUrl":17568,"material":139,"size":139,"collection":139,"collections":17569,"showCount":17507,"zanCount":48,"manualWeight":48,"mainColor":94},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[7,23,24,173,27,177,81,29,229,174,2310,1647,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],{"id":17571,"slug":17572,"title":17573,"dynasty":99,"author":2146,"museum":78,"description":17574,"tags":17575,"thumbUrl":17576,"material":1691,"size":17577,"collection":181,"collections":17578,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":94},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[7,23,24,225,173,177,86,106,151,1365,176,866,606,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[181,163],{"id":17580,"slug":17581,"title":17582,"dynasty":99,"author":100,"museum":78,"description":17583,"tags":17584,"thumbUrl":17586,"material":699,"size":17587,"collection":181,"collections":17588,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":94},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[7,209,23,24,225,27,28,17585,226,175,106,29,109,176,34,266,174],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[181,45],{"id":17590,"slug":17591,"title":13257,"dynasty":18,"author":17592,"museum":311,"description":17593,"tags":17594,"thumbUrl":17595,"material":5090,"size":17596,"collection":42,"collections":17597,"showCount":17507,"zanCount":1337,"manualWeight":48,"mainColor":49},221249,"pu-tao-tu-wen-ri-guan-221249","温日观","善草书，精画葡萄，自成一家。他于一笔中带有深浅不同之墨色画叶，并以深墨点染仍带湿润 之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[7,209,23,24,83,173,2569,606,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","27×188.5cm",[42,90,163],{"id":17599,"slug":17600,"title":17601,"dynasty":189,"author":1442,"museum":206,"description":17602,"tags":17603,"thumbUrl":17604,"material":302,"size":17605,"collection":181,"collections":17606,"showCount":17507,"zanCount":48,"manualWeight":48,"mainColor":94},220786,"song-lin-ting-zi-zhou-ni-zan-220786","松林亭子轴","《松林亭子图》为倪瓒54岁时所作，画上落款时间为至正十四年（1354）初冬。在1354年前后，倪瓒的生活因元末社会动荡而发生一系列变化。“至正八年（1348）台州黄岩方国珍起义，至正十一年红巾军起义，十三年张士诚起兵泰州⋯⋯至正十二年，元军与红巾军在太湖流域大战，无锡、苏州等地处于战火硝烟之中，倪瓒避兵于甫里南渚陆玄素家。”元政府的苛捐杂税没有因为战争而消减，反而有愈演愈烈之势。朱德润在《平江路问弭盗策》中叙述了当时赋税的繁重：“科征之际，枷系满屋，鞭挞盈道，直至生民困苦，饥寒迫身。至于酒课、盐课、税课，比之国之初增至十倍。”倪瓒本人也于至正六年（1346）在《馀不溪咏并续》中叹道：“余既为农畎亩，身依稼穑。复而政繁，奔走州里。”倪瓒在兄长去世后，田亩赋税的豁免权随之消失，加之对生活品质的追求，用度豪奢，重赋剥削，也逐渐品尝到生活的重压。于是，在战火与课税中，倪瓒选择变卖田产，弃家逃避兵火之灾。\n《松林亭子图》，现藏于台北故宫博物院，绢本墨画，纵83.4厘米，横52.9厘米，画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。”倪瓒的跋文交代了创作的时间，受画者，以及创作的主题。",[7,23,24,225,173,177,29,175,403,384,385,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","276x74.5cm",[181,163],{"id":17608,"slug":17609,"title":17610,"dynasty":18,"author":9659,"museum":206,"description":17611,"tags":17612,"thumbUrl":17613,"material":123,"size":17614,"collection":42,"collections":17615,"showCount":17507,"zanCount":48,"manualWeight":48,"mainColor":49},219965,"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[7,23,24,225,173,177,178,86,263,106,210,29,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[42,181],{"id":17617,"slug":17618,"title":17619,"dynasty":18,"author":5793,"museum":78,"description":17620,"tags":17621,"thumbUrl":17622,"material":123,"size":17623,"collection":44,"collections":17624,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":49},219429,"ba-gao-seng-tu-liang-kai-219429","八高僧图","《南宋梁楷八高僧故事图卷》分别描绘南北朝至唐代佛教禅宗八个高僧的故事。各个人物的神态、举止和服饰刻画入微、传神；山石多为斧劈皴，笔法简洁洗练，动静相映以烘托出人物的情绪。是梁楷作品中较为工整的一路。每幅之后，均附有明初人用行书撰写的文字说明，内容简明扼要。",[7,244,27,28,106,29,1365,4272,174,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1587fabe100285596e73694b143eae99.jpg","纵 26.6 厘米 横64.1 66.4 64.7 厘米",[44],{"id":17626,"slug":17627,"title":17628,"dynasty":189,"author":278,"museum":206,"description":17629,"tags":17630,"thumbUrl":17631,"material":123,"size":139,"collection":45,"collections":17632,"showCount":17507,"zanCount":48,"manualWeight":48,"mainColor":49},218757,"ma-hu-dou-tu-yi-ming-218757","马虎斗图","荒野坡地间，虎躯如弓骤起，斑纹随扑跃之势流转，利爪前探、利齿微张，将猛兽的悍勇凝于一瞬。对面的马似遭突袭，后腿猛蹬沙砾，前蹄腾空欲踹，鬃尾怒扬如帚，肌肉紧绷的线条里满是求生的倔强。周遭荒草疏疏，枯木隐现，浅褐底色更衬出这场对峙的凛冽——没有多余渲染，却让观者仿佛听见虎啸马嘶，触到风里的紧张气息。笔法精准却不刻板，虎的威猛与马的刚烈形成强烈张力，寥寥数笔的环境勾勒，便将荒野争斗的野性拉满，尽显笔墨间蓬勃的生命力。",[7,23,28,27,8436,150,808,176,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[45],{"id":17634,"slug":17635,"title":17636,"dynasty":54,"author":17637,"museum":311,"description":17638,"tags":17639,"thumbUrl":17640,"material":123,"size":17641,"collection":44,"collections":17642,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":49},218434,"jie-bo-tu-juan-zhao-gong-you-218434","掲钵图卷","赵公佑","残卷斑驳，却凝萃着盛唐绘画的磅礴气象。画面中神祇与魔众的对峙张力十足，线条流转如行云流水，虽历经岁月褪色，朱红与墨色的交织仍显古雅厚重。人物动态鲜活，或持械交锋，或肃立说法，神态各异间铺展叙事脉络。构图疏密有致，虚实相生，既见个体形象的精谨刻画，亦有整体场景的宏阔铺陈。笔墨间藏着唐代画坛的雄浑笔力与细腻情思，即便残损处也似时光留痕，诉说着千年之前的艺术风华，堪称研究唐代宗教绘画与叙事艺术的珍贵遗存。其笔墨间的雄浑与细腻，既显宗教题材的庄严神圣，又含世俗绘画的生动意趣，是盛唐艺术兼容并蓄精神的鲜活注脚。",[7,23,24,25,27,243,106,150,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076f4968eb11391f30728e56d3fad1d8.jpg","27.4x109.4",[44],{"id":17644,"slug":17645,"title":14598,"dynasty":99,"author":278,"museum":3188,"description":17646,"tags":17647,"thumbUrl":17648,"material":123,"size":17649,"collection":44,"collections":17650,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":49},218410,"ying-xi-tu-yi-ming-218410","花木扶疏的庭院里，石影横斜，稚童们的身影灵动鲜活。围坐小几的孩童或俯身凝眸，或执物细玩，憨态可掬；旁侧的孩子相互追逐，衣袂轻扬间满是天真烂漫。案上器物精巧，阶前小凳古朴，衬得画中世界雅致又充满烟火气。设色古雅温润，线条婉转细腻，将孩童的无忧时光定格成帧，仿佛能听见稚子的嬉闹声穿过岁月，漫溢着恬淡的生活意趣与对童真的脉脉咏叹。画面以细腻笔触勾勒出童真百态，古雅的色调与婉转的线条交织，将无忧岁月凝练成帧，让观者在古朴的氛围里，触摸到那份穿越时空的天真暖意。",[7,23,27,28,225,106,4304,229,266,369,228,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875a332dd57d21a2a5dbe31d190af59f.jpg","182.2x98.1",[44],{"id":17652,"slug":17653,"title":17654,"dynasty":18,"author":278,"museum":206,"description":17655,"tags":17656,"thumbUrl":17658,"material":123,"size":17659,"collection":181,"collections":17660,"showCount":17507,"zanCount":1337,"manualWeight":48,"mainColor":49},215137,"yuan-shui-yang-fan-tu-yi-ming-215137","远水扬帆图","这幅画描绘了远处漂浮的几座青山。烟雾弥漫的河面上一阵强风将河边岩石上枝繁叶茂的树木吹弯，并将三艘客船直推到河中央。河岸上一位白袍隐士，带着他的钢琴手，正准备漫步到岩石阴凉处的茅草亭。明亮的风景透露出几分悠然自得的动感。",[7,23,24,27,29,177,34,558,106,174,3660,17657,175],"远水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ba8f66e5fe5ffdbb57aa8db2c36a45.jpg","21.6x52.4cm",[181],{"id":17662,"slug":17663,"title":17664,"dynasty":76,"author":17665,"museum":1279,"description":17666,"tags":17667,"thumbUrl":17668,"material":409,"size":17669,"collection":181,"collections":17670,"showCount":17507,"zanCount":48,"manualWeight":48,"mainColor":94},214490,"cheng-fang-fang-gu-shan-shui-tu-cheng-fang-214490","程淓仿古山水图","程淓","清代程淓的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[7,23,173,2497,177,225,29,34,35,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64344232495e911adda77560a5895256.jpg","28x17cm",[181],{"id":17672,"slug":17673,"title":17674,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":17675,"thumbUrl":17676,"material":699,"size":1567,"collection":139,"collections":17677,"showCount":17507,"zanCount":2209,"manualWeight":48,"mainColor":49},214357,"san-jue-shan-shui-ce-3-hua-yan-214357","三绝山水册-3",[7,23,24,81,173,27,29,114,119,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbbe74ad51b2f834a84bc920cbd5367.jpg",[],{"id":17679,"slug":17680,"title":17681,"dynasty":18,"author":886,"museum":311,"description":17682,"tags":17683,"thumbUrl":17684,"material":2164,"size":2165,"collection":139,"collections":17685,"showCount":17686,"zanCount":2209,"manualWeight":48,"mainColor":94},289594,"wu-long-tu-chen-rong-289594","五龙图","陈容，字公储，号所翁，福建长乐人，南宋端平二年（1235年）进士，曾做过福建莆田太守。南宋著名画家。《金溪县志》作临川（今属江西）人，《图绘宝鉴》作福唐（今福建福清）人。生卒年不详。陈容墓在福建长乐。\n诗文豪壮，尤善画龙，变化欲活，世传‘所翁龙’是也。”\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[7,23,25,24,173,433,2159,263,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad44d787cfa6bf3de62f57ee2d80a9fc.jpg",[],79,{"id":17688,"slug":17689,"title":17690,"dynasty":189,"author":3051,"museum":311,"description":17691,"tags":17692,"thumbUrl":17694,"material":2164,"size":2165,"collection":139,"collections":17695,"showCount":17686,"zanCount":2209,"manualWeight":48,"mainColor":49},287308,"yu-tu-xiao-niao-tu-juan-qian-xuan-287308","玉兔小鸟图卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[7,23,25,28,27,2234,266,83,84,7803,17693],"草本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb81428e6f03395c30ef0e049ea155af.jpg",[],{"id":17697,"slug":17698,"title":17699,"dynasty":99,"author":17700,"museum":311,"description":17701,"tags":17702,"thumbUrl":17703,"material":139,"size":139,"collection":139,"collections":17704,"showCount":17686,"zanCount":1337,"manualWeight":48,"mainColor":94},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[7,23,24,225,173,177,29,108,109,107,150,106,403,176,384,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91b60b69348321c76a367aa9f8848fc.jpg",[],{"id":17706,"slug":17707,"title":17708,"dynasty":76,"author":3676,"museum":311,"description":4387,"tags":17709,"thumbUrl":17710,"material":27,"size":139,"collection":90,"collections":17711,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":94},224226,"mu-dan-shui-xian-zhou-wu-chang-shuo-224226","牡丹水仙轴",[7,23,24,225,27,83,369,405,263,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751c4dca763d55c5f20268cdb50760d5.jpg",[90,45],{"id":17713,"slug":17714,"title":17715,"dynasty":76,"author":1963,"museum":56,"description":17716,"tags":17717,"thumbUrl":17718,"material":1271,"size":17719,"collection":90,"collections":17720,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":94},222822,"mu-dan-shan-zhe-tu-zhou-mu-dan-shuang-he-xu-yang-222822","牡丹山鹧图轴(牡丹双鹤)","图绘二只山鹧，一只掉于水中，另一只站在石上尾巴散开，羽毛蓬松，圆睁的眼睛似为同伴落水而焦急不已；石边牡丹花绽放，硕大的花朵，层层叠叠的花瓣，高贵典雅。",[7,23,24,225,173,28,83,369,266,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca665cb56cece71915c2720da655165.jpg","117*55.8cm",[90],{"id":17722,"slug":17723,"title":17724,"dynasty":99,"author":2242,"museum":206,"description":4030,"tags":17725,"thumbUrl":17726,"material":699,"size":17727,"collection":90,"collections":17728,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":94},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面",[7,209,23,24,1352,400,173,27,83,2927,176,35,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[90,45],{"id":17730,"slug":17731,"title":17732,"dynasty":99,"author":17700,"museum":206,"description":17733,"tags":17734,"thumbUrl":17735,"material":527,"size":17736,"collection":181,"collections":17737,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":94},222372,"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[7,23,24,225,173,27,29,1365,176,15753,106,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[181,45],{"id":17739,"slug":17740,"title":17741,"dynasty":189,"author":17742,"museum":206,"description":17743,"tags":17744,"thumbUrl":17745,"material":123,"size":17746,"collection":139,"collections":17747,"showCount":17686,"zanCount":1337,"manualWeight":48,"mainColor":49},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","唐棣","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[7,209,23,24,225,173,27,29,176,34,467,177,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],{"id":17749,"slug":17750,"title":17751,"dynasty":18,"author":5793,"museum":14878,"description":17752,"tags":17753,"thumbUrl":17756,"material":67,"size":17757,"collection":42,"collections":17758,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":49},221612,"can-zhi-tu-juan-liang-kai-221612","蚕织图卷","图描绘江浙一带的蚕织户自“腊月浴蚕”到“下机入箱”为止的养蚕、织帛的整个生产过程。该卷由二十四个场面组成，用长房贯穿，每个场面下有楷书小字，注明内容。全卷场面宏大，共绘七十四人，翁媪长幼，皆服宋装。图中人物的神态举止，惟妙惟肖，桑树、户牖、几席、蚕具、织具等，富有写真写实之风。",[7,23,25,28,27,104,106,17754,17755,115,35,34,16789,173,14900,65],"织机","蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5708c7869732c0eddc83d2007b004137.jpg","27.5x513",[42,44,45],{"id":17760,"slug":17761,"title":17762,"dynasty":18,"author":1721,"museum":311,"description":17763,"tags":17764,"thumbUrl":17767,"material":573,"size":17768,"collection":42,"collections":17769,"showCount":17686,"zanCount":2209,"manualWeight":48,"mainColor":49},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[7,23,209,25,28,27,83,8304,226,227,370,468,386,606,1128,6196,17765,17766],"野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm",[42,90,45],{"id":17771,"slug":17772,"title":17773,"dynasty":18,"author":17774,"museum":20,"description":17775,"tags":17776,"thumbUrl":17777,"material":699,"size":17778,"collection":328,"collections":17779,"showCount":17686,"zanCount":2209,"manualWeight":48,"mainColor":94},221230,"er-zha-tie-fan-zhong-yan-221230","二札帖","范仲淹","二札即边事、远行二帖，为两通书札。\n边事帖又称乡曲帖，释文：\n“仲淹再拜，知府刑部仁兄：伏惟起居萬福。施鄉曲之惠，占江山之勝，優哉樂乎。此間邊事，夙夜勞苦。仗朝廷威靈，即目寧息，亦漸有倫序。鄉中交親俱荷大庇，幸甚。師道之奇，尤近教育，乞自重，自重。不宣。仲淹拜上，知府刑部仁兄左右。三月十日。”\n信中“知府刑部”即富严，曾官刑部郎中，此时正在苏州知府任上。范仲淹本苏州人，因此对富严给予自己家乡亲人的关照深表谢忱。而仲淹这时则远离故乡，以陕西招讨使的身份，率部戍边，抗击西夏。故信中说：“此间边事，夙夜劳苦。”\n远行帖也称修答帖，释文：\n“仲淹再拜，運使學士四兄：兩次捧教，不早修答，牽仍故也。吳親郎中經過有失款待，乞多謝。吾兄遠行，瞻戀增極，萬萬善愛，以慰貧交。蘇醖五瓶，道中下藥。金山鹽豉五器，別無好物，希不責。不宣。仲淹再拜，象山學士四哥座前。八月五日。”\n此两帖书法瘦硬方正，清劲中有法度。人常将此书风喻其人品，称“公书庄严清澈，信如其品”。",[7,24,86,178,2547,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bab8f2a827f449ac6e055019802d9e.jpg","纵31.1厘米，横39厘米",[328],{"id":17781,"slug":17782,"title":17783,"dynasty":54,"author":6070,"museum":20,"description":6071,"tags":17784,"thumbUrl":17785,"material":699,"size":17786,"collection":328,"collections":17787,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":94},221090,"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷",[7,209,23,24,25,105,178,263,86,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[328,2097],{"id":17789,"slug":17790,"title":17791,"dynasty":189,"author":767,"museum":222,"description":17792,"tags":17793,"thumbUrl":17794,"material":88,"size":17795,"collection":44,"collections":17796,"showCount":17686,"zanCount":1337,"manualWeight":48,"mainColor":49},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[7,23,24,173,177,29,734,1365,866,35,108,109,229,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[44,45],{"id":17798,"slug":17799,"title":17800,"dynasty":18,"author":278,"museum":206,"description":17801,"tags":17802,"thumbUrl":17804,"material":123,"size":17805,"collection":42,"collections":17806,"showCount":17686,"zanCount":1337,"manualWeight":48,"mainColor":94},220363,"sang-zhi-huang-niao-tu-yi-ming-220363","桑枝黄鸟图","北宋绘画讲求写生，当时的画家必需要能同时掌握大自然中瞬息万变的面貌，以及具备精湛的绘画技巧。因此这件作品所体现画家这份力图师法自然、再现自然的匠心，令人弥足珍惜。",[7,23,209,24,81,28,27,83,266,17803,759],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84d0d6b4547248df308176a7ee1cb94.jpg","25.4 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26.5公分",[42],{"id":17808,"slug":17809,"title":17810,"dynasty":18,"author":1419,"museum":1098,"description":17811,"tags":17812,"thumbUrl":17813,"material":123,"size":139,"collection":181,"collections":17814,"showCount":17686,"zanCount":2209,"manualWeight":48,"mainColor":49},219916,"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。",[7,23,24,25,173,27,177,29,734,282,34,107,175,174,266,1265,7690,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[181],{"id":17816,"slug":17817,"title":14574,"dynasty":18,"author":278,"museum":677,"description":17818,"tags":17819,"thumbUrl":17820,"material":123,"size":17821,"collection":181,"collections":17822,"showCount":17686,"zanCount":2209,"manualWeight":48,"mainColor":629},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[7,23,1218,225,173,177,29,174,108,109,867,34,176,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[181],{"id":17824,"slug":17825,"title":17826,"dynasty":18,"author":1395,"museum":206,"description":17827,"tags":17828,"thumbUrl":17830,"material":123,"size":17831,"collection":181,"collections":17832,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":49},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[7,23,24,173,177,27,29,865,13661,770,174,1267,1776,17829,176,2310],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[181],{"id":17834,"slug":17835,"title":17836,"dynasty":18,"author":278,"museum":206,"description":17837,"tags":17838,"thumbUrl":17841,"material":327,"size":17842,"collection":181,"collections":17843,"showCount":17686,"zanCount":1104,"manualWeight":48,"mainColor":49},218783,"qiu-shan-tu-yi-ming-218783","秋山图","这幅关于山脉的画作从画板底部向上延伸，将纸张堆叠起来，在复杂而庞大的岩石中，随着溪流的流动，创造出山峦和沟壑的变化，并在现实和想象中创造出一种兴趣。山石像范宽的彩虹，寒林和枯枝的画法像郭熙的蟹爪法，而整体画风与《荆浩的匡庐》非常相似。",[7,23,209,29,173,225,177,17839,557,17840,176,1776,7803,109,4970,5535],"蟹爪法","沟壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[181],{"id":17845,"slug":17846,"title":17847,"dynasty":76,"author":1963,"museum":101,"description":17848,"tags":17849,"thumbUrl":17852,"material":123,"size":17853,"collection":181,"collections":17854,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":94},218708,"qian-long-nan-xun-tu-yue-shi-huang-huai-he-gong-xu-yang-218708","乾隆南巡图-阅视黄淮河工","本卷以“御制恭依皇祖揽黄淮诗韵”为文,描绘乾隆皇帝渡过黄河后,当日和次日视察黄河、淮河、运河和洪泽湖四大水系汇合处险要工程的场景.本幅开卷的宽阔江面,全以细笔勾勒水波,缜密而不失丰富层次,其中江水因含沙量不同,一清一浑、泾渭分明,足称奇观.堤坝之上,皇帝立于华盖之下,心系社稷黎民；\n沿途群臣下跪翘首,感激皇威浩荡.卷前有词臣于敏中题诗：御碑亭畔汇清黄，仰溯涂山疏瀹方。端拱九重遑自逸，酬咨万姓切如伤。惟斯继述诚应勖，亦曰流连慎戒荒，高堰重蒙皇考建，千秋淮郡倚金汤。御制恭依皇祖览淮黄诗韵。臣于敏中奉敕敬书。",[7,23,24,25,28,27,104,31,17850,557,2310,114,106,111,34,1087,4140,1807,3981,17851],"堤坝","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[181],{"id":17856,"slug":17857,"title":17858,"dynasty":76,"author":17859,"museum":206,"description":17860,"tags":17861,"thumbUrl":17867,"material":88,"size":17868,"collection":181,"collections":17869,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":94},218165,"huang-he-lou-tu-guan-huai-218165","黄鹤楼图","关槐","关槐（十八世纪）字晋卿，号云岩，晚号青城山人，仁和（今杭州）人。乾隆间供奉内廷，宠眷特懋。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。\n黄鹤楼位于湖北武昌县西，汉阳门内黄鹤山上，楼高踞山巅，东瞩蛇山，西瞰大江，极富江山之胜。此楼始建于孙吴，然代见整修增益。 「寰宇记」有云：「昔费文祎登仙，每乘黄鹤于此楼驾，故名。」关槐此幅绘城郭临岸，江帆交织，波光粼粼，诚武汉之写生景也。",[7,23,209,1218,27,17862,4229,17863,17864,107,29,17865,17866,1904],"黄鹤楼","江帆","大江","波光","恬静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff013021d891bfaafb4122f34dac1c641.jpg","162.5x70.1cm",[181],{"id":17871,"slug":17872,"title":17873,"dynasty":18,"author":1419,"museum":132,"description":3437,"tags":17874,"thumbUrl":17875,"material":123,"size":3440,"collection":139,"collections":17876,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":94},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)",[7,2042,23,24,81,27,173,177,86,263,29,865,229,109,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg",[],{"id":17878,"slug":17879,"title":7137,"dynasty":76,"author":1584,"museum":6772,"description":17880,"tags":17881,"thumbUrl":17882,"material":88,"size":17883,"collection":181,"collections":17884,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":49},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[7,23,24,225,173,177,29,734,384,403,108,109,35,37,176,5174,194,468,6962,559,14857,9672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[181],{"id":17886,"slug":17887,"title":17888,"dynasty":18,"author":278,"museum":20,"description":17889,"tags":17890,"thumbUrl":17892,"material":123,"size":17893,"collection":90,"collections":17894,"showCount":17686,"zanCount":1337,"manualWeight":48,"mainColor":94},216750,"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[7,209,23,24,1352,28,27,263,17891,34,2267,808],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg","纵25厘米，横25.6厘米",[90],{"id":17896,"slug":17897,"title":17898,"dynasty":18,"author":7741,"museum":206,"description":17899,"tags":17900,"thumbUrl":17901,"material":123,"size":17902,"collection":181,"collections":17903,"showCount":17686,"zanCount":2209,"manualWeight":48,"mainColor":94},215110,"qi-feng-wan-mu-tu-yan-wen-gui-215110","奇峰万木图","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[7,23,209,24,81,173,27,29,34,5183,177,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ce2e5b35c1ba22aa5ee4dea5f39ab1.jpg","24.5 x 26公分",[181],{"id":17905,"slug":17906,"title":17907,"dynasty":18,"author":17908,"museum":311,"description":17909,"tags":17910,"thumbUrl":17911,"material":123,"size":139,"collection":181,"collections":17912,"showCount":17686,"zanCount":2209,"manualWeight":48,"mainColor":94},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[7,9700,24,25,243,104,27,106,29,107,108,109,150,808,266,34,37,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[181],{"id":17914,"slug":17915,"title":17916,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":17917,"thumbUrl":17918,"material":699,"size":1567,"collection":139,"collections":17919,"showCount":17686,"zanCount":48,"manualWeight":48,"mainColor":49},214345,"san-jue-shan-shui-ce-16-hua-yan-214345","三绝山水册-16",[7,23,81,173,27,29,174,229,384,434,177,4272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5412a5acb56562b5d7a9ca0fbda12789.jpg",[],{"id":17921,"slug":17922,"title":3234,"dynasty":18,"author":1395,"museum":311,"description":17923,"tags":17924,"thumbUrl":17925,"material":2164,"size":2165,"collection":139,"collections":17926,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":49},290086,"yu-fu-tu-li-tang-290086","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[7,209,23,173,29,225,177,174,1542,109,866,229,867,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":17929,"slug":17930,"title":17931,"dynasty":18,"author":1677,"museum":206,"description":17932,"tags":17933,"thumbUrl":17935,"material":123,"size":17936,"collection":42,"collections":17937,"showCount":17927,"zanCount":2209,"manualWeight":48,"mainColor":49},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[7,23,209,28,27,243,106,151,433,808,2159,37,247,17934],"神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[42],{"id":17939,"slug":17940,"title":17941,"dynasty":76,"author":16528,"museum":311,"description":17942,"tags":17943,"thumbUrl":17944,"material":2164,"size":2165,"collection":139,"collections":17945,"showCount":17927,"zanCount":2209,"manualWeight":48,"mainColor":94},230976,"tan-mei-shi-nv-tu-fei-dan-xu-230976","探梅仕女图","本图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花，姿态自然生动，十分传神。仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，充分体现出费丹旭仕女图的美学特征。",[7,23,27,28,59,106,402,229,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebadd248a4abef29f28af2255c5ade4.jpg",[],{"id":17947,"slug":17948,"title":3243,"dynasty":76,"author":1584,"museum":311,"description":17949,"tags":17950,"thumbUrl":17951,"material":1488,"size":17952,"collection":181,"collections":17953,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},224390,"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[7,23,173,225,29,177,176,34,468,558,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[181],{"id":17955,"slug":17956,"title":17957,"dynasty":76,"author":6172,"museum":20,"description":17958,"tags":17959,"thumbUrl":17960,"material":40,"size":17961,"collection":181,"collections":17962,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":49},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[7,23,27,104,28,29,1365,107,175,111,176,37,2310,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[181,45],{"id":17964,"slug":17965,"title":17966,"dynasty":76,"author":17967,"museum":523,"description":17968,"tags":17969,"thumbUrl":17970,"material":16468,"size":17971,"collection":181,"collections":17972,"showCount":17927,"zanCount":2209,"manualWeight":48,"mainColor":49},223283,"bai-long-tan-li-zhou-dai-ben-xiao-223283","白龙潭立轴","戴本孝","回群山峰势险峻，几道飞泉从山腰倾泻而下，直接在山脚下的深潭中，被潭壁山岩环绕，画面茂密，有一种艺术感。 “花池深桃”的构想。",[7,23,173,225,29,177,734,466,384,2279,558,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","54x188.6cm",[181,163],{"id":17974,"slug":17975,"title":1987,"dynasty":76,"author":1473,"museum":20,"description":17976,"tags":17977,"thumbUrl":17978,"material":1488,"size":17979,"collection":90,"collections":17980,"showCount":17927,"zanCount":2209,"manualWeight":48,"mainColor":94},222706,"mo-mei-tu-jin-nong-222706","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[7,23,24,173,225,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7967e3dda2c9b321a8c00cdad902d330.jpg","纵117厘米，横43.6厘米",[90,45],{"id":17982,"slug":17983,"title":17984,"dynasty":76,"author":17985,"museum":1279,"description":17986,"tags":17987,"thumbUrl":17988,"material":573,"size":17989,"collection":181,"collections":17990,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":49},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[7,23,24,225,173,105,177,29,865,1365,176,5384,109,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[181],{"id":17992,"slug":17993,"title":17994,"dynasty":99,"author":2242,"museum":20,"description":4030,"tags":17995,"thumbUrl":17996,"material":573,"size":17997,"collection":90,"collections":17998,"showCount":17927,"zanCount":2209,"manualWeight":48,"mainColor":49},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴",[7,23,209,24,225,27,400,83,84,226,229,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[90,45],{"id":18000,"slug":18001,"title":18002,"dynasty":99,"author":18003,"museum":206,"description":18004,"tags":18005,"thumbUrl":18006,"material":699,"size":18007,"collection":90,"collections":18008,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},222433,"hua-die-cao-chong-ce-du-da-cheng-222433","花蝶草虫册","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[7,23,173,81,83,62,953,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd5485eb18b52994d17f0f3d39c21a.jpg","27x34cm",[90],{"id":18010,"slug":18011,"title":18012,"dynasty":99,"author":170,"museum":78,"description":18013,"tags":18014,"thumbUrl":18016,"material":573,"size":18017,"collection":181,"collections":18018,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[7,209,23,24,81,1218,27,173,177,104,28,400,107,34,106,18015],"诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[181],{"id":18020,"slug":18021,"title":18022,"dynasty":99,"author":18023,"museum":206,"description":18024,"tags":18025,"thumbUrl":18026,"material":123,"size":18027,"collection":90,"collections":18028,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},221942,"hua-hua-die-zhou-zhao-wen-chu-221942","画花蝶轴","赵文俶","赵文俶，长洲（今苏州）人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名「寒山草木昆虫状」，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。赵文俶此卷迭经恭亲王奕砢、觯斋郭世五收藏，明女史画家作品妍雅若此，甚属难得。",[7,23,225,27,28,83,229,62,953,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[90,45],{"id":18030,"slug":18031,"title":18032,"dynasty":99,"author":18033,"museum":101,"description":18034,"tags":18035,"thumbUrl":18036,"material":527,"size":18037,"collection":181,"collections":18038,"showCount":17927,"zanCount":2209,"manualWeight":48,"mainColor":49},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[7,23,24,25,28,27,29,106,384,4272,283,109,175,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[181,45],{"id":18040,"slug":18041,"title":18042,"dynasty":18,"author":2039,"museum":1406,"description":18043,"tags":18044,"thumbUrl":18045,"material":40,"size":18046,"collection":42,"collections":18047,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},221488,"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[7,23,24,209,28,27,106,150,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[42,44,45],{"id":18049,"slug":18050,"title":18051,"dynasty":189,"author":1442,"museum":20,"description":18052,"tags":18053,"thumbUrl":18054,"material":18055,"size":18056,"collection":181,"collections":18057,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":49},220796,"lin-ting-yuan-xiu-tu-zhou-ni-zan-220796","林亭远岫图轴","《东方画谱·元代山水篇：林亭远岫图》采用三段式构图法，观此图与倪瓒的《松亭山色图》、《容膝斋图》颇有相似处。近景有两株并排生长的高树，线条劲健，笔力十足，可见多用中锋较少侧笔，故显得结实挺拔。画山石使用大量折带皴，看似草草村擦，实则苍老劲健，笔法精湛，炉火纯青。所画江面平静无风，没有舟舸，整幅画亦不见人烟，而见孤亭独立，呈现出了恬静幽远的意境。",[7,23,173,29,865,175,1265,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8750e9292710e5790e47df600dda4c.jpg","纸本，立轴","纵87.3厘米，横31.4厘米",[181,163],{"id":18059,"slug":18060,"title":18061,"dynasty":189,"author":1539,"museum":20,"description":18062,"tags":18063,"thumbUrl":18064,"material":699,"size":18065,"collection":328,"collections":18066,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},220784,"wu-zhen-cao-shu-xin-jing-juan-wu-zhen-220784","吴镇草书心经卷","吴镇书法多见于题画，《心经卷》是其传世的唯一草书作品，此卷书于元至元六年（1340年），为吴镇61岁时手录《心经》全文（内有误书多处），笔势遒逸，风味古澹，堪称炉火纯青。\n释文：观自在菩萨，行深般若波罗蜜多时。照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色，色即是空，空即是色。受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼界耳鼻舌身意，无色声香味触法，无眼界，无无明，亦无无明尽。乃至无老死，亦无老死尽。无苦集灭道，无智亦无得。以无所得故，菩提萨埵。依般若波罗蜜多故，心无罣碍。无罣碍故，无有恐怖。远离颠倒梦想，究竟涅盘。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故得般若波罗蜜多，是大神呪，是大明呪，是无等等呪。能除一切苦，真实不虚。故说般若波罗蜜多呪。即说呪曰：揭谛，揭谛，波罗僧揭谛，波罗揭谛，菩提萨婆诃。",[7,86,2570,5152,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79733ea91dcfd3a8e7e0329846ff3007.jpg","29.3×203厘米",[328],{"id":18068,"slug":18069,"title":18070,"dynasty":949,"author":3807,"museum":3808,"description":18071,"tags":18072,"thumbUrl":18073,"material":139,"size":139,"collection":139,"collections":18074,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},220519,"zhang-cai-qin-xiang-xu-bei-hong-220519","张采芹像","此作以淡墨白描写就，洗练雅致。画家精准捕捉主人公温文儒雅的神态，一袭长衫垂坠自然，背手而立的姿态舒展从容，将民国文人沉静端方的风骨尽显无遗。\n\n画面四周题跋疏密有致，墨迹与画像相得益彰，既是挚友间的交游印记，也让画面饱满和谐。作品摒弃繁复设色，以凝练线条勾勒形神，寥寥数笔便将人物气度入微呈现，文气与画韵交融，是兼具写实传神与文人意趣的写意肖像精品。",[7,23,24,244,173,106,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444958c704403f2e072309bafd507fb5.jpg",[],{"id":18076,"slug":18077,"title":18078,"dynasty":18,"author":8191,"museum":206,"description":18079,"tags":18080,"thumbUrl":18082,"material":123,"size":18083,"collection":42,"collections":18084,"showCount":17927,"zanCount":2209,"manualWeight":48,"mainColor":49},220234,"chen-ju-zhong-ping-yuan-she-lu-tu-chen-ju-zhong-220234","陈居中平原射鹿图","平野寥廓萧瑟，将塞外猎场的辽远铺展开来。骑手俯身引弓，满弦待发，衣摆随奔马带起的劲风翻涌，骏马四蹄腾空，肌理紧绷绷迸发出奔逐的力量。前方野鹿弓腰疾逃，肢体满是惊惶，奔逃的仓促与骑手的沉凝形成鲜明对冲，将狩猎瞬间的张力拉至顶峰。\n\n画作以极简布景衬出旷野苍茫，线条劲挺爽利，晕染精细熨帖，把人马的剽悍雄健与野鹿的仓皇奔逃刻画得鲜活逼真，将草原射猎的快意与北国的雄放意趣，凝在这奔逐的一瞬之间。",[7,209,23,24,27,28,106,150,4778,18081],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68da4e95aefa993938654434b8b7a50.jpg","36.8×54.9",[42],{"id":18086,"slug":18087,"title":18088,"dynasty":18,"author":278,"museum":206,"description":18089,"tags":18090,"thumbUrl":18091,"material":123,"size":18092,"collection":42,"collections":18093,"showCount":17927,"zanCount":2209,"manualWeight":48,"mainColor":49},220217,"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[7,23,209,24,28,27,83,226,385,9481,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[42],{"id":18095,"slug":18096,"title":18097,"dynasty":99,"author":17700,"museum":1406,"description":18098,"tags":18099,"thumbUrl":18100,"material":123,"size":18101,"collection":181,"collections":18102,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":49},219935,"bei-ming-tu-zhou-chen-219935","北溟图","此图描绘了古代北海的波澜壮阔。《庄子》开篇《逍遥游》载：“北冥有鱼，其名为鲲，鲲之大，不知几千里也”。渤海古代称北海，亦即北冥，北冥亦作北溟。",[7,23,25,29,28,177,107,34,37,5967,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177597f502a07f40362a79fb62f4475a.jpg","135.9x28.3厘米",[181],{"id":18104,"slug":18105,"title":18106,"dynasty":76,"author":803,"museum":20,"description":18107,"tags":18108,"thumbUrl":18110,"material":88,"size":18111,"collection":44,"collections":18112,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},219631,"feng-yu-du-qiao-tu-ren-yi-219631","风雨渡桥图","狂风卷着冷雨席卷而来，柳丝如乱发狂舞，将滂沱之势尽显。渡桥二人缩肩弓背，撑伞者竭力护着身旁同伴，浓淡墨色晕染出湿衣的沉坠褶皱，仓促步履间却带着相携的温情，将风雨里的窘迫暖意定格。\n\n石桥以枯笔泼墨绘就，苍劲厚重，和柔媚翻飞的柳丝形成刚柔反差。水面以淡墨晕开朦胧水雾，暗藏雨打涟漪的空濛，左下角水草斜偃，呼应着肆虐风势。画作以大写意笔墨铺陈天候之烈，又于人物眉眼间刻画入微，将外在风雨与内在人情相融，落笔酣畅洒脱，意韵悠长动人。",[7,23,225,173,27,400,106,108,384,11547,18109],"渡桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7f921eff5817be7c13f4bae6cb7363.jpg","155.5x43.5厘米",[44,45],{"id":18114,"slug":18115,"title":10828,"dynasty":18,"author":4074,"museum":206,"description":18116,"tags":18117,"thumbUrl":18118,"material":123,"size":18119,"collection":42,"collections":18120,"showCount":17927,"zanCount":2209,"manualWeight":48,"mainColor":49},219300,"lu-yan-tu-huang-ju-cai-219300","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[7,23,209,24,28,27,83,3898,3899,370,282,1231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[42,90,45],{"id":18122,"slug":18123,"title":18124,"dynasty":18,"author":1137,"museum":3188,"description":18125,"tags":18126,"thumbUrl":18127,"material":123,"size":18128,"collection":42,"collections":18129,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":49},219083,"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","描绘了两枝树支。 下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[7,209,23,24,28,27,83,13514,926,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[42,90],{"id":18131,"slug":18132,"title":18133,"dynasty":76,"author":18134,"museum":447,"description":18135,"tags":18136,"thumbUrl":18137,"material":123,"size":18138,"collection":90,"collections":18139,"showCount":17927,"zanCount":1337,"manualWeight":48,"mainColor":49},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[7,209,23,24,225,28,27,4451,558,34,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[90],{"id":18141,"slug":18142,"title":18143,"dynasty":189,"author":6413,"museum":132,"description":18144,"tags":18145,"thumbUrl":18146,"material":409,"size":18147,"collection":181,"collections":18148,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[7,23,24,225,173,177,29,866,466,266,928,558,2279,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[181],{"id":18150,"slug":18151,"title":18152,"dynasty":99,"author":5372,"museum":206,"description":18153,"tags":18154,"thumbUrl":18155,"material":88,"size":18156,"collection":45,"collections":18157,"showCount":17927,"zanCount":1337,"manualWeight":48,"mainColor":94},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[7,23,24,25,27,28,177,263,178,29,106,107,108,109,229,34,175,115,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[45],{"id":18159,"slug":18160,"title":18161,"dynasty":18,"author":11652,"museum":78,"description":18162,"tags":18163,"thumbUrl":18164,"material":123,"size":18165,"collection":90,"collections":18166,"showCount":17927,"zanCount":1104,"manualWeight":48,"mainColor":49},216082,"an-chun-tu-ye-li-an-zhong-216082","鹌鹑图页","此宋人鹌鹑图页，无作者款印。图绘鹌鹑一只，体形滚圆，斑纹、毛羽如生，作回首状，点缀平坡、秋黍等。清代曾经清耿昭忠、耿嘉祚父子收藏，各有鉴藏印记。近代经吴湖帆、潘静淑夫妇收藏，有吴湖帆题签：“北宋李安忠鹌鹑”。",[7,23,24,209,4850,28,27,83,8304,928,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d691dcbeca802bd7e1c7806aa13adcd.jpg","纵23.5厘米，横23.1厘米",[90],{"id":18168,"slug":18169,"title":18170,"dynasty":99,"author":2902,"museum":206,"description":18171,"tags":18172,"thumbUrl":18173,"material":409,"size":18174,"collection":181,"collections":18175,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},215044,"shan-shui-ji-jing-wang-fu-215044","山水集景","王绂（1567-1630）是明朝时期的文学家，他的山水集景是一部著名的诗集。该诗集收录了王绂写的许多关于山水风景的诗歌，这些诗歌描写了自然风光、山川景色、湖泊和其他自然景观。王绂的诗歌以其精美的描写、优美的语言和深刻的思想而闻名，被认为是中国古典诗歌中的杰出作品。",[7,23,173,29,177,226,175,176,34,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd65f978a54b6280267aea6cc2cd8f.jpg","68.8x37cm",[181],{"id":18177,"slug":18178,"title":18179,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":18180,"thumbUrl":18181,"material":409,"size":4264,"collection":139,"collections":18182,"showCount":17927,"zanCount":1337,"manualWeight":48,"mainColor":94},214983,"dao-zi-mo-bao-ren-wu-bai-miao-hua-2-yi-ming-214983","道子墨宝人物白描画-2",[7,23,24,244,106,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eeddadab043e71b851c8ff4a307f137.jpg",[],{"id":18184,"slug":18185,"title":18186,"dynasty":76,"author":963,"museum":447,"description":964,"tags":18187,"thumbUrl":18188,"material":88,"size":969,"collection":139,"collections":18189,"showCount":17927,"zanCount":48,"manualWeight":48,"mainColor":94},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[7,209,23,24,81,173,27,29,229,34,1265,37,177,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":18191,"slug":18192,"title":18193,"dynasty":18,"author":18194,"museum":311,"description":18195,"tags":18196,"thumbUrl":18198,"material":139,"size":139,"collection":139,"collections":18199,"showCount":18200,"zanCount":48,"manualWeight":48,"mainColor":49},227545,"luo-hua-you-yu-tu-juan-liu-cai-227545","落花游鱼图卷","刘寀","《落花游鱼图》是北宋刘寀创作的绢本设色画，现藏于美国圣路易美术馆。\n\n此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[7,23,25,28,27,783,136,18197,314,263],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa408c3b0e7c06087b3ea0051b1546b89.jpg",[],77,{"id":18202,"slug":18203,"title":18204,"dynasty":76,"author":1473,"museum":311,"description":18205,"tags":18206,"thumbUrl":18208,"material":699,"size":8223,"collection":90,"collections":18209,"showCount":18200,"zanCount":48,"manualWeight":48,"mainColor":94},222708,"mei-hua-tu-zhou-jin-nong-222708","梅花图轴","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[7,23,225,173,400,402,658,229,263,86,18207],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg",[90,45],{"id":18211,"slug":18212,"title":18213,"dynasty":99,"author":817,"museum":583,"description":18214,"tags":18215,"thumbUrl":18216,"material":527,"size":18217,"collection":90,"collections":18218,"showCount":18200,"zanCount":48,"manualWeight":48,"mainColor":94},221992,"song-shi-gao-shi-tu-wen-zheng-ming-221992","松石高士图","据蔡羽序记，正德十三年二月十九日，文徵明与好友蔡羽、王守、王宠、汤珍等人至无锡惠山游览，品茗饮茶，吟诗唱和，十分相得，事后便创作了这幅记事性作品。画面采用截取式构图，突出“茶会”场景，在一片松林中有座茅亭泉井，诸人冶游其间，或围井而坐，展卷吟哦，或散步林间，赏景交谈，或观看童子煮茶。人物面相虽少肖像画特征，大都雷同，动态、情致刻画却迥异，饶有生意，并传达出共通的闲适、文雅气质，反映了文人画家传神胜于写形的艺术宗旨。同时，青山绿树、苍松翠柏的幽雅环境，与文人士子的茶会活动相映衬，也营造出情景交融的诗意境界。",[7,23,29,734,282,384,27,400,225,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c92706428937b31f81e452f3db90dc6.jpg","纵71cm，横35cm",[90,45],{"id":18220,"slug":18221,"title":18222,"dynasty":18,"author":5270,"museum":56,"description":18223,"tags":18224,"thumbUrl":18225,"material":18226,"size":18227,"collection":42,"collections":18228,"showCount":18200,"zanCount":2209,"manualWeight":48,"mainColor":94},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[7,23,24,25,244,173,27,106,29,34,175,108,109,266,229,1422,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[42,44,45],{"id":18230,"slug":18231,"title":18232,"dynasty":18,"author":7741,"museum":9826,"description":18233,"tags":18234,"thumbUrl":18236,"material":67,"size":18237,"collection":42,"collections":18238,"showCount":18200,"zanCount":48,"manualWeight":48,"mainColor":49},221418,"dong-xue-shan-shui-tu-juan-yan-wen-gui-221418","冬雪山水图卷","景口郭卑天锡父题。长卷绘山连绵起伏，山顶云雾缭绕，山下河水平静，村落树木白雪覆盖，画面静谧空旷。",[7,209,23,24,25,27,177,29,18235,7943,31,34,176],"冬雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769365f4d6505b4b415e55c2a2bad217.jpg","34.7x354.5厘米",[42,181,163],{"id":18240,"slug":18241,"title":18242,"dynasty":204,"author":18243,"museum":20,"description":18244,"tags":18245,"thumbUrl":18246,"material":67,"size":18247,"collection":44,"collections":18248,"showCount":18200,"zanCount":48,"manualWeight":48,"mainColor":49},221152,"lang-yuan-nv-xian-tu-juan-ruan-gao-221152","阆苑女仙图卷","阮郜","“阆苑”是传说中仙人的住处，有时也指宫苑。此图描绘的当是仙山阆苑，为仙女生活游玩之地。图中描绘苍松翠竹间，一群女仙休闲的情景，其中三个地位显赫，在小仙女的陪侍下坐在一起，或执卷欲书，或展卷凝视，或拨弄三弦。四周有乘鸾女仙、乘龙女仙、驾云女仙，还有在海面上凌波漫步，缓缓而来的女仙，与地上群仙互为呼应。\n画中女仙体态纤弱，衣纹勾描细密圆软，一反唐周昉时代侍女之丰肥与衣纹线条之方硬。树枝多画成蟹爪状，画法略似李成。坡石以墨线勾，染青绿色。水纹繁复，刻划极为生动，有唐人遗风。清人高士奇在跋中云：“五代阮郜畫，世不多見。《閬苑仙女圖》曾入宣和御府，筆墨深厚，非陳居中、蘇漢臣輩所可比擬。”",[7,209,23,24,25,28,27,106,59,29,34,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde423de1a5e6f1d004a4e19fd7e97f3e.jpg","纵42.7厘米，横177.2厘米。",[44,45],{"id":18250,"slug":18251,"title":18252,"dynasty":99,"author":2494,"museum":20,"description":18253,"tags":18254,"thumbUrl":18255,"material":1488,"size":18256,"collection":181,"collections":18257,"showCount":18200,"zanCount":2209,"manualWeight":48,"mainColor":94},220906,"she-shan-you-jing-tu-zhou-dong-qi-chang-220906","佘山游境图轴","《董其昌佘山游境图轴》是明代画家董其昌所创作的一幅纸本纸本墨笔画。",[7,209,23,24,225,173,177,29,176,34,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68466d3a79e9cb3ca5526c09f52f5482.jpg","纵98.4厘米，横41厘米",[181,163],{"id":18259,"slug":18260,"title":18261,"dynasty":18,"author":278,"museum":206,"description":18262,"tags":18263,"thumbUrl":18266,"material":123,"size":18267,"collection":42,"collections":18268,"showCount":18200,"zanCount":48,"manualWeight":48,"mainColor":49},219200,"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[7,23,27,28,4850,83,3899,1194,18264,266,18265,173],"汀渚","水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","25x25.5cm",[42,90],{"id":18270,"slug":18271,"title":18272,"dynasty":99,"author":278,"museum":447,"description":18273,"tags":18274,"thumbUrl":18275,"material":123,"size":18276,"collection":90,"collections":18277,"showCount":18200,"zanCount":48,"manualWeight":48,"mainColor":49},219003,"gua-shu-tu-yi-ming-219003","瓜鼠图","这幅画描绘了一只老鼠啃食甜瓜的情景，象征着甜瓜的长寿和后人的祝福。由于没有背景，瓜子很逼真，老鼠很灵动，使这个民俗吉祥的题材变得清新雅致，不是一般的普通手笔，可能是出自训练有素的宫廷画师之手。",[7,209,23,24,28,27,83,9259,11917,62,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786880bde7884db33cdeb9b80987b151.jpg","24.6x25.6cm",[90],{"id":18279,"slug":18280,"title":15436,"dynasty":76,"author":1584,"museum":78,"description":18281,"tags":18282,"thumbUrl":18284,"material":123,"size":18285,"collection":181,"collections":18286,"showCount":18200,"zanCount":2209,"manualWeight":48,"mainColor":49},218264,"du-fu-shi-yi-tu-wang-yuan-qi-218264","层峦叠嶂间，干笔皴擦的远山如黛，云雾缭绕中透出苍劲之姿。山腰亭台隐于松竹深处，林木葱茏间藏文人栖居的意趣。近景山石以浓墨勾勒，皴染结合尽显厚重质感；虬松枝干盘曲，松针如簇，笔力遒劲。整幅画笔墨苍润，构图深远，将山水之清幽与诗意之境相融，尽显沉雄古逸的娄东派山水韵味，仿佛可闻林泉间的文人雅韵，观之如入静谧悠远的诗意山水世界。",[7,23,24,27,177,29,175,176,37,34,114,18283],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e15a2b69c75609ee0d8554e5cc662c.jpg","321x92cm",[181],{"id":18288,"slug":18289,"title":18290,"dynasty":18,"author":1419,"museum":206,"description":18291,"tags":18292,"thumbUrl":18294,"material":123,"size":18295,"collection":181,"collections":18296,"showCount":18200,"zanCount":2209,"manualWeight":48,"mainColor":94},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[7,209,23,24,225,173,27,29,865,176,1775,18293,4207,229],"滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[181],{"id":18298,"slug":18299,"title":18300,"dynasty":76,"author":278,"museum":311,"description":18301,"tags":18302,"thumbUrl":18303,"material":123,"size":139,"collection":44,"collections":18304,"showCount":18200,"zanCount":2209,"manualWeight":48,"mainColor":629},218125,"fu-hua-luo-han-jiu-zhang-lao-xiang-yi-ming-218125","佛画·罗汉九长老像","佚名的佛画 "罗汉九长老像" 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 "罗汉九长老像" 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[7,243,27,28,26,106,384,176,2162,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a09e08d048331cf689d6066907fd6fc.jpg",[44],{"id":18306,"slug":18307,"title":18308,"dynasty":18,"author":676,"museum":311,"description":18309,"tags":18310,"thumbUrl":18312,"material":699,"size":139,"collection":44,"collections":18313,"showCount":18200,"zanCount":48,"manualWeight":48,"mainColor":94},218076,"bai-miao-luo-han-tu-ce-1-li-gong-lin-218076","白描罗汉图册-1","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[7,23,24,81,244,173,243,106,18311,5967,37],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c753992917e049858fa3fcec2e2773.jpg",[44],{"id":18315,"slug":18316,"title":18317,"dynasty":99,"author":170,"museum":311,"description":4110,"tags":18318,"thumbUrl":18319,"material":2164,"size":2165,"collection":139,"collections":18320,"showCount":18321,"zanCount":2209,"manualWeight":48,"mainColor":94},288067,"chui-diao-tu-shen-zhou-288067","垂钓图",[7,23,209,173,225,24,29,106,8761,229,109,5243,1542,86,263,13620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],76,{"id":18323,"slug":18324,"title":18325,"dynasty":76,"author":18326,"museum":311,"description":18327,"tags":18328,"thumbUrl":18329,"material":139,"size":139,"collection":139,"collections":18330,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":94},230198,"xi-hu-quan-jing-tu-ping-zhou-shang-wen-230198","西湖全景图屏","周尚文","此作用大青绿设色晕染山峦，石青石绿敷色明丽雅致，兼以勾勒皴擦表现山体肌理，糅合浅绛晕染的柔和质感。山峦层叠排布，以留白烘衬云气，虚实相生间烘托出空濛悠远的江南湖山意境。山间苍松虬劲古雅，林木错落点缀，将温润灵秀的山水气质尽显。构图错落递进，层层铺展出悠远舒展的山水格局，尽显工丽秀雅的格调，把江南湖山的清润诗意融于笔底，兼具可观可游之趣。",[7,23,24,26,27,177,29,1365,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1d10b61a0a4df84f3479e4933db94a.jpg",[],{"id":18332,"slug":18333,"title":18334,"dynasty":99,"author":170,"museum":311,"description":18335,"tags":18336,"thumbUrl":18337,"material":139,"size":139,"collection":139,"collections":18338,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":94},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[7,23,24,25,27,177,29,34,174,106,770,109,176,867,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],{"id":18340,"slug":18341,"title":18342,"dynasty":189,"author":278,"museum":311,"description":18343,"tags":18344,"thumbUrl":18346,"material":2164,"size":2165,"collection":139,"collections":18347,"showCount":18321,"zanCount":2209,"manualWeight":48,"mainColor":49},228240,"yu-lan-guan-yin-zhou-yi-ming-228240","鱼篮观音轴","此尊观音菩萨即为鱼篮观音，像高束发，垂发挽结，自然舒卷，搭在双肩，富有写实感。观音菩萨面相丰满，头微颔，双眼作俯视状，双眉正中嵌珍珠白毫。五官刻画柔和，轮廓端正，表情和悦，深沉内省，充分表现出观音菩萨大慈大悲、慈悯众生的佛性。观音菩萨袒露前胸，佩戴牡丹花饰缨络项链，内束裙，裙边饰花纹，折迭自然起伏，裙带扎束小结，线条流畅细腻，富有动感。外罩双领下垂大衣，衣领雕饰牡丹花草，翻卷自由活泼，富有写实性和立体感。",[7,23,225,27,28,243,106,783,136,2279,18345],"篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41ecfe8a6fc43621a056f7ae4293a6a.jpg",[],{"id":18349,"slug":18350,"title":18351,"dynasty":76,"author":4406,"museum":206,"description":18352,"tags":18353,"thumbUrl":18354,"material":67,"size":18355,"collection":139,"collections":18356,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":94},224479,"fang-zhao-meng-fu-shan-shui-zhou-wang-jian-224479","仿赵孟頫山水轴","王鉴最早从董源入手，1636年，39岁的王鉴结识了董其昌，由此开始深受董其昌影响，后承绪南宗正脉，并涉足擅长青绿山水的三赵 ( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[7,23,24,225,2497,26,27,177,29,176,34,108,109,1087,106,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],{"id":18358,"slug":18359,"title":18360,"dynasty":18,"author":278,"museum":311,"description":18361,"tags":18362,"thumbUrl":18363,"material":139,"size":139,"collection":139,"collections":18364,"showCount":18321,"zanCount":2209,"manualWeight":48,"mainColor":49},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 〉最为浪漫的憧憬画出了。",[7,23,209,24,81,27,28,177,29,106,174,6868,176,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb770c34ae0fb5c7a2dc0e116c105e.jpg",[],{"id":18366,"slug":18367,"title":18368,"dynasty":76,"author":11555,"museum":206,"description":11601,"tags":18369,"thumbUrl":18372,"material":139,"size":18373,"collection":90,"collections":18374,"showCount":18321,"zanCount":2209,"manualWeight":48,"mainColor":94},222808,"bian-dou-hua-wang-wu-222808","扁荳花",[7,23,83,27,28,86,263,18370,607,18371,606],"扁豆花","豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe5cc35daef658d871bd3f676303498.jpg","34.2x50.4",[90,45],{"id":18376,"slug":18377,"title":18378,"dynasty":99,"author":18379,"museum":56,"description":18380,"tags":18381,"thumbUrl":18382,"material":841,"size":18383,"collection":90,"collections":18384,"showCount":18321,"zanCount":1104,"manualWeight":48,"mainColor":94},222522,"mei-cha-shan-que-tu-zhu-zhu-222522","梅茶山雀图","朱竺","图绘梅、茶花、山雀的花鸟图。雀站立于茶树枝上，昂头望着上方的红茶花和金色梅花，神态专注；梅枝自然伸展，朵朵梅花点缀其上；茶花争相绽放，一抹红色美艳动人。朱竺，号君实，明代画家，工山水，亦能花鸟、人物。",[7,23,24,225,27,28,263,402,1292,5212,83,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","119.3x39.6cm",[90,45],{"id":18386,"slug":18387,"title":18388,"dynasty":99,"author":3869,"museum":20,"description":18389,"tags":18390,"thumbUrl":18391,"material":16468,"size":18392,"collection":90,"collections":18393,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":49},222400,"can-he-ying-lu-tu-lv-ji-222400","残荷鹰鹭图","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[7,23,24,225,83,28,27,173,227,4451,4207,3899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae54932f80827cb6ce0d4337c4bf1.jpg","纵190厘米，横105.2厘米",[90,163],{"id":18395,"slug":18396,"title":18397,"dynasty":99,"author":100,"museum":20,"description":1762,"tags":18398,"thumbUrl":18399,"material":40,"size":1766,"collection":139,"collections":18400,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":94},222187,"ren-wu-gu-shi-tu-chui-xiao-yin-feng-chou-ying-222187","人物故事图-吹箫引凤",[7,23,28,27,104,106,59,107,29,266,433,2279,34,9597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f759dfb5ab9012ad81e69f828566888.jpg",[],{"id":18402,"slug":18403,"title":18404,"dynasty":99,"author":16420,"museum":20,"description":18405,"tags":18406,"thumbUrl":18407,"material":1488,"size":18408,"collection":163,"collections":18409,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":49},222168,"xiang-jiang-feng-yu-tu-juan-xia-chang-222168","湘江风雨图卷","画幅右上方自题图名《湘江风雨》，款“東吳夏昶仲昭筆”，钤“東吳夏昶仲昭書畫印”、“燕寢凝香”印二方。\n夏昶画竹，以其精深的功力和独树一帜的艺术风格名重一时。他一改前人画竹独幅数竿的表现形式，而用巨幅长卷描绘竹树的千竿万梢，同时还“延之以洲渚，加之以风雨”，更显浩浩荡荡，气势恢宏。他笔下的墨竹已不仅仅是简单的文人式的寄兴抒怀，，而且还于其自然的生长环境，在画中融入山水画的笔墨意境。此卷竹林随湘江两岸景致的变化而隐现，起自淡阔的沙洲，之后是平缓的坡陀，继而是坚硬的岩石，又入清冷的江水，再后是壁立的山崖，最后经急湍飞瀑、汩汩溪流而入山，竹树或整或零，或疏或密，老干新枝，各尽其态。画家充分利用了长卷的广度精心描绘出一种起伏张弛的流动性和情节性，实际上是传统墨竹与水墨长卷的结合。夏昶画竹，强调气韵，主张“一气呵成”，“画巨幅尤须如此”，此卷竹叶落墨即是，不见复笔，山石以斧劈皴法大笔侧锋挥扫而成，从首至尾，气脉通连飞动。\n卷后自跋中云此图作于“正統己巳（1449年）秋九月”，正值夏氏62岁出知瑞州之时，是其晚年墨竹长卷的代表作。",[7,23,24,25,173,177,29,226,176,109,466,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8755393eede68b1ee573bab7500c298.jpg","纵35厘米，横1206厘米",[163,1896],{"id":18411,"slug":18412,"title":18413,"dynasty":99,"author":936,"museum":20,"description":18414,"tags":18415,"thumbUrl":18416,"material":15499,"size":18417,"collection":181,"collections":18418,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":49},221886,"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[7,209,23,24,81,27,177,105,29,176,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","纵30.2＊横25.1CM",[181,44,45],{"id":18420,"slug":18421,"title":18422,"dynasty":189,"author":18423,"museum":7116,"description":18424,"tags":18425,"thumbUrl":18426,"material":1116,"size":18427,"collection":139,"collections":18428,"showCount":18321,"zanCount":2209,"manualWeight":48,"mainColor":94},221749,"jiu-ge-tu-ji-ci-juan-zhu-ti-zhang-wo-221749","九歌图及词卷主体","张渥","《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[7,209,23,24,25,244,173,106,86,263,2279,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19bda932e8c57e252c3f7db62b08b53.jpg","纵28 厘米 横62.4 厘米",[],{"id":18430,"slug":18431,"title":18432,"dynasty":189,"author":3051,"museum":20,"description":18433,"tags":18434,"thumbUrl":18435,"material":841,"size":18436,"collection":181,"collections":18437,"showCount":18321,"zanCount":2209,"manualWeight":48,"mainColor":49},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[7,209,23,24,25,27,28,86,263,29,34,35,33,176,1365,1265,11241,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[181,45],{"id":18439,"slug":18440,"title":18441,"dynasty":18,"author":5793,"museum":20,"description":18442,"tags":18443,"thumbUrl":18444,"material":16468,"size":18445,"collection":42,"collections":18446,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":49},221617,"xue-zhan-xing-qi-tu-ye-liang-kai-221617","雪栈行骑图页","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[7,23,173,81,177,209,29,1775,865,150,106,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbecd869a79db686331de7ca8c64673f.jpg","纵23.5、横24.2厘米",[42,181,45],{"id":18448,"slug":18449,"title":18450,"dynasty":189,"author":645,"museum":20,"description":18451,"tags":18452,"thumbUrl":18453,"material":699,"size":18454,"collection":328,"collections":18455,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":94},220879,"qi-jue-shi-ce-zhao-meng-fu-220879","七绝诗册","此帖虽仅短短五行大字，却笔力深沉稳健，气势恢弘傲放，结体严谨端庄，首尾富于变化。书风虽显苍老，但依旧雍容洒脱，是赵氏晚年大行书中的精品。\n释文：煉得身形似鶴形，千株松下兩函經。我來問道無餘事，雲在青天水在瓶。子昂爲中庭老書。",[7,178,86,24,81,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02aa5e347b479247c231fe1bbedb407b.jpg","纵34.7厘米,横35.3厘米",[328],{"id":18457,"slug":18458,"title":18459,"dynasty":189,"author":645,"museum":78,"description":11361,"tags":18460,"thumbUrl":18461,"material":699,"size":18462,"collection":328,"collections":18463,"showCount":18321,"zanCount":1337,"manualWeight":48,"mainColor":94},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞",[7,24,86,25,178,11363,2278,403,407,2279,370,734,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米",[328],{"id":18465,"slug":18466,"title":18467,"dynasty":189,"author":645,"museum":78,"description":18468,"tags":18469,"thumbUrl":18470,"material":699,"size":18471,"collection":328,"collections":18472,"showCount":18321,"zanCount":2209,"manualWeight":48,"mainColor":94},220833,"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[7,23,24,86,25,178,243,1253,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[328],{"id":18474,"slug":18475,"title":18476,"dynasty":949,"author":18477,"museum":9137,"description":18478,"tags":18479,"thumbUrl":18480,"material":527,"size":139,"collection":139,"collections":18481,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":94},220476,"wan-shan-hong-bian-li-ke-ran-220476","万山红遍","李可染","以大面积朱砂晕染层林，丹红似燃，浓烈却不失厚重意蕴，将秋山烂漫尽数铺展。焦墨勾勒山石轮廓，苍劲雄浑的墨色与艳烈丹红碰撞，生出极强视觉张力。垂落的飞瀑如素练破山而下，为沉郁秋景注入灵动生机。山坳间错落的白墙黛瓦民居，晕开一抹烟火暖意，让宏阔秋景多了几分温婉烟火气。笔力苍拙厚重，色彩对比强烈却和谐相融，将秋日山林的绚烂大气与静谧雅致合而为一，尽显秋山盛景的磅礴诗意。",[7,23,27,177,400,29,466,468,35,2137,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cecc510a934210856686c503976ce7a.jpg",[],{"id":18483,"slug":18484,"title":18485,"dynasty":18,"author":18486,"museum":206,"description":18487,"tags":18488,"thumbUrl":18491,"material":327,"size":18492,"collection":42,"collections":18493,"showCount":18321,"zanCount":48,"manualWeight":48,"mainColor":49},220191,"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[7,209,23,24,27,28,266,229,866,83,18489,18490],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[42,90],{"id":18495,"slug":18496,"title":18497,"dynasty":99,"author":278,"museum":56,"description":18498,"tags":18499,"thumbUrl":18502,"material":123,"size":18503,"collection":44,"collections":18504,"showCount":18321,"zanCount":2209,"manualWeight":48,"mainColor":49},219537,"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[7,23,25,27,2158,28,5187,1365,9193,9194,86,18500,18501],"士大夫","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","纵47横344厘米",[44,45,328],{"id":18506,"slug":18507,"title":18508,"dynasty":189,"author":18509,"museum":206,"description":18510,"tags":18511,"thumbUrl":18512,"material":409,"size":18513,"collection":181,"collections":18514,"showCount":18321,"zanCount":1337,"manualWeight":48,"mainColor":94},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[7,23,24,225,173,177,263,86,178,29,734,2279,1775,384,466,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[181],{"id":18516,"slug":18517,"title":18518,"dynasty":18,"author":278,"museum":206,"description":18519,"tags":18520,"thumbUrl":18521,"material":123,"size":18522,"collection":181,"collections":18523,"showCount":18321,"zanCount":1337,"manualWeight":48,"mainColor":94},218806,"song-ren-ji-hui-han-shan-xing-lv-yi-ming-218806","宋人集绘-寒山行旅","本页绘一轮明月高悬天际，其下寒江平展，枯树横生蟹爪，景色萧疏空阔。近处坡丘二起，左丘上，古松成双，参差挺峙。松下亭中，有旅人坐憩。两丘间，土桥横江相连，沿著右丘，小径一路蜿蜒东去，丘势亦转成峰，环抱于江渚之后。行旅三两或骑或行，殆欲踏寒归去。山石形若卷云，皴法笔势劲捷，遥山远树则用染与前景分虚实，空间的气氛感颇为独到。",[7,23,209,24,81,177,173,29,734,866,1422,106,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8b5a6304e7640a65792a19ed547c98.jpg","25.2x26.3",[181],{"id":18525,"slug":18526,"title":18527,"dynasty":204,"author":18528,"museum":311,"description":18529,"tags":18530,"thumbUrl":18531,"material":2164,"size":2165,"collection":139,"collections":18532,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":49},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[7,23,225,3567,27,28,136,924,4208,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],75,{"id":18535,"slug":18536,"title":18537,"dynasty":204,"author":1839,"museum":311,"description":18538,"tags":18539,"thumbUrl":18540,"material":2164,"size":2165,"collection":139,"collections":18541,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":49},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[7,209,23,24,25,173,29,109,174,867,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],{"id":18543,"slug":18544,"title":18545,"dynasty":18,"author":1137,"museum":311,"description":18546,"tags":18547,"thumbUrl":18548,"material":2164,"size":2165,"collection":139,"collections":18549,"showCount":18533,"zanCount":2209,"manualWeight":48,"mainColor":49},288492,"guo-shu-lai-qin-tu-lin-chun-288492","果熟来禽图","《果熟来禽图》绘有林檎果一枝，枝上硕果累累。系挂着沉甸甸果实的枝丫，仿佛在轻轻地颤动。果叶正反面刻画细致，连虫蚀的痕迹都颇为清晰。果树上有一小鸟，它转颈回眸，振翅欲飞。画面虽不繁复，却充满生气盎然的意趣，表现出作者蕴藉空灵的审美追求",[7,23,209,3567,28,27,266,2267,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae85ba9562268d73b08485dbcf58808.jpg",[],{"id":18551,"slug":18552,"title":18553,"dynasty":18,"author":12612,"museum":311,"description":18554,"tags":18555,"thumbUrl":18556,"material":139,"size":139,"collection":139,"collections":18557,"showCount":18533,"zanCount":2209,"manualWeight":48,"mainColor":49},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[7,209,23,24,25,26,27,28,29,734,282,34,107,175,108,174,10496,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],{"id":18559,"slug":18560,"title":18561,"dynasty":76,"author":10054,"museum":311,"description":18562,"tags":18563,"thumbUrl":18564,"material":2164,"size":2165,"collection":139,"collections":18565,"showCount":18533,"zanCount":2209,"manualWeight":48,"mainColor":94},230858,"lin-tian-wang-song-zi-tu-yu-zhi-ding-230858","临天王送子图","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[7,23,24,25,243,244,106,13899,433,808,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2a2ab40be6165dd013479e508c193e.jpg",[],{"id":18567,"slug":18568,"title":521,"dynasty":99,"author":18033,"museum":311,"description":18569,"tags":18570,"thumbUrl":18571,"material":139,"size":139,"collection":139,"collections":18572,"showCount":18533,"zanCount":1104,"manualWeight":48,"mainColor":94},228912,"tao-hua-yuan-tu-qian-gu-228912","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[7,23,24,25,173,27,177,28,29,106,264,109,174,867,266,108,175,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":18574,"slug":18575,"title":18576,"dynasty":189,"author":278,"museum":1666,"description":18577,"tags":18578,"thumbUrl":18580,"material":67,"size":18581,"collection":139,"collections":18582,"showCount":18533,"zanCount":2209,"manualWeight":48,"mainColor":629},223593,"bai-yi-guan-yin-tu-zhou-yi-ming-223593","白衣观音图轴","此作用淡墨白描写就，线条清劲圆转如兰叶拂风，将观音衣袂的舒展柔曼尽数铺陈。菩萨安坐枯木之上，神态恬寂慈悲，身罩圆光，愈发显得清宁出尘。一旁净瓶斜插柳枝，暗点禅意。背景寥寥数笔勾勒寒江枯石，简淡空寂，烘托出幽远澄澈的水月之境。画首题诗暗合观心见性的禅思，笔墨极简却神完气足，以空灵之境托出观音自在无染的悲悯之态，尽显简逸高古的审美意趣，淡远清和之中，悠悠禅韵扑面而来。",[7,23,24,225,243,244,106,9889,176,18579,11846],"净瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650731d393f311c93711e07f496fca71.jpg","83x39",[],{"id":18584,"slug":18585,"title":18586,"dynasty":76,"author":5585,"museum":523,"description":18587,"tags":18588,"thumbUrl":18589,"material":699,"size":18590,"collection":181,"collections":18591,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[7,209,23,24,25,27,173,83,178,2570,263,227,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[181,163],{"id":18593,"slug":18594,"title":18595,"dynasty":76,"author":18596,"museum":583,"description":18597,"tags":18598,"thumbUrl":18599,"material":302,"size":18600,"collection":44,"collections":18601,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":49},222523,"zhu-shou-tu-zhou-wang-wen-wei-222523","祝寿图轴","王文炜","寿星和梅花鹿是这一题材必备的图像，婴戏图表示多子，也代表了吉祥的寓意，除此之外本图中还描绘了对坐书案的两位文仕，为本图平添了高雅的情趣。画面设色妍雅，笔墨生动。",[7,23,24,209,225,27,28,106,4304,8731,4778,1365,176,109,3972],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9cf9fe0adff55e94e42726ea4c7077.jpg","80X160",[44,45],{"id":18603,"slug":18604,"title":18605,"dynasty":99,"author":2253,"museum":206,"description":18606,"tags":18607,"thumbUrl":18609,"material":18610,"size":18611,"collection":90,"collections":18612,"showCount":18533,"zanCount":2209,"manualWeight":48,"mainColor":49},222173,"jia-he-cao-chong-tu-wu-bing-222173","嘉禾草虫图","本幅选自「名绘集珍」册。画水稻两株，在田间婷婷伫立，成串的稻穗，已经俯首低垂。蝴蝶、花虻和蜻蜓，有的兀自在空中飞舞，有的则栖息在叶梢。由于右上方的叶子，和上方的稻穗，均溢出了画幅的边界，推测可能是表面曾经遭到污损，才由大裁小，改装成现在所看到的形式。",[7,939,23,209,28,27,83,18608,511,512,696,782,284],"嘉禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3e40e787e59113179f539e535e2cfe.jpg","册页，设色","27.3 x 45.7公分",[90,45],{"id":18614,"slug":18615,"title":18616,"dynasty":99,"author":2494,"museum":206,"description":18617,"tags":18618,"thumbUrl":18619,"material":3812,"size":18620,"collection":181,"collections":18621,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[7,23,24,225,173,177,86,178,29,385,109,1365,34,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[181,163],{"id":18623,"slug":18624,"title":18625,"dynasty":99,"author":2494,"museum":206,"description":18626,"tags":18627,"thumbUrl":18628,"material":699,"size":18629,"collection":181,"collections":18630,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[7,23,24,225,173,177,86,263,29,5183,3596,34,35,176,31,37,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[181,163],{"id":18632,"slug":18633,"title":18634,"dynasty":76,"author":803,"museum":18635,"description":18636,"tags":18637,"thumbUrl":18639,"material":3812,"size":139,"collection":139,"collections":18640,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},220464,"tao-hua-yuan-ren-yi-220464","桃花源","亚瑟·M·赛克勒美术馆","淡墨勾皴层叠岩壁，浅晕青绿晕开山岚清润。老樵负斧驻足，抬首凝望漫山繁花。苍劲虬枝缀满素色花团，如堆雪覆枝，将山野晕染出朦胧柔婉。幽寂山石隐在花影石隙，似藏着无人惊扰的洞天。\n人物衣褶简括灵动，抬首的怔忡神态宛然在目，将误入世外山境的沉醉凝于笔端。淡墨写意晕出空寂悠远的山野氛围，清简笔墨铺展出世外天地的悠然意趣，把隐逸避世的幽韵尽数融在这尺幅之中。",[7,23,225,27,3202,106,29,402,176,34,109,18638],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2b3db8d3cbb318979a7513a7d5b907.jpg",[],{"id":18642,"slug":18643,"title":18644,"dynasty":99,"author":18645,"museum":8534,"description":18646,"tags":18647,"thumbUrl":18649,"material":123,"size":18650,"collection":90,"collections":18651,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":49},220315,"li-hua-shuang-jiu-tu-yu-yuan-220315","梨花双鸠图","虞沅","陶渊明的诗作在清新自然的氛围中营造了一种恬淡宁静、纯朴自然的境界，这正是老庄艺术境界与人生境界的合一。钱选追慕陶渊明式的的隐逸生活，他曾画了多幅《归去来图》以示对陶潜的景仰之情，画中曾经题诗：“衡门植五柳，东篱采丛菊。长啸有余清，无奈酒不足。当世宜沈酣，作色召侮辱。乘兴赋归欤，千载一辞独。”钱选的传世作品《柴桑翁像》卷描绘陶渊明头戴明纱巾，脚着木屐，携杖款款而行的样子。画中题道：“晋陶渊明得天真之趣，无青州从事而不可陶写胸中磊落，尝命童子佩酒以随，故时人模写之。余不敏，亦写此以况。”可见钱选是借陶渊明来书写胸臆，仿陶潜之隐逸，寻道老庄，建自身之心隐，表达对陶潜自喻的隐居素志和平淡生活情趣的田园生活的向往，钱选在生活和绘画创作中极力营造心目中“桃花源”，一个平和、繁华但又远离尘世，隐心俗世之外，又从世外深情俯视人间之境。",[7,23,24,225,28,27,83,1409,18648],"鸠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f327fd3c66d28a0a0a4df196d628d00.jpg","97cm×30.2cm",[90],{"id":18653,"slug":18654,"title":18655,"dynasty":99,"author":18656,"museum":20,"description":18657,"tags":18658,"thumbUrl":18659,"material":123,"size":18660,"collection":181,"collections":18661,"showCount":18533,"zanCount":2209,"manualWeight":48,"mainColor":49},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[7,23,24,25,173,27,29,177,734,558,34,37,109,1871,5183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[181,45],{"id":18663,"slug":18664,"title":18665,"dynasty":76,"author":10288,"museum":447,"description":11101,"tags":18666,"thumbUrl":18667,"material":88,"size":11104,"collection":181,"collections":18668,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},219758,"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬",[7,23,24,173,29,1423,866,174,109,176,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg",[181],{"id":18670,"slug":18671,"title":1462,"dynasty":76,"author":1047,"museum":447,"description":18672,"tags":18673,"thumbUrl":18674,"material":88,"size":139,"collection":181,"collections":18675,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},219756,"shan-shui-tu-zhu-da-219756","以枯淡笔墨绘就天地疏景，线条老辣苍劲，不作浓艳晕染，大片留白代水映天，尽显空寂辽远。远山浅勾轻皴，淡宕朦胧如幻，近木虬曲怪诞，寥寥枝桠撑住清寒风骨。屋舍隐于林间坡岸，愈发衬出天地阒寂。\n\n整幅画将孤高沉郁藏在极简构图里，冷逸萧索的意境下，是遗世的喟叹，简淡笔触中尽是疏离孤傲的心境，于空荒冷寂间，晕开独有的禅意与沉郁诗意。",[7,23,24,173,400,177,29,865,176,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb58644b54bbcc9aee7fe0bc1916a47.jpg",[181],{"id":18677,"slug":18678,"title":4458,"dynasty":277,"author":18679,"museum":222,"description":18680,"tags":18681,"thumbUrl":18682,"material":123,"size":18683,"collection":181,"collections":18684,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":49},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","朝鲜·佚名","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[7,23,225,173,177,29,1775,734,282,34,35,174,283,468,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[181],{"id":18686,"slug":18687,"title":18688,"dynasty":99,"author":18689,"museum":20,"description":18690,"tags":18691,"thumbUrl":18692,"material":409,"size":18693,"collection":328,"collections":18694,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},219150,"cao-shu-die-lian-hua-ci-zhang-bi-219150","草书·蝶恋花词","张弼","此轴是张弼书录宋王诜《蝶恋花词》一首，词序上有倒句。原词为：“钟送夕阳鸡打鸣。昏晓相催，世事何时了。万恨千愁人自老，春来仍然生芳草。忙处人多闲处少。闲处光阴，几个人知道。独上高楼云渺渺，天涯一点青山小。”（编者注）\n张弼的行草书师法张旭、怀素，雄奇劲健，纵逸多姿。此轴为作者晚年书，用笔迅疾飞动，错落有致，提按起收富于变化。通篇犹如暴风骤雨，风驰电掣。王鏊评其书：“疾如风雨，矫如龙蛇，欹如坠石，瘦如枯藤，怪伟跌宕。”",[7,86,2570,225,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba759976bd3332a262a2c7e984cb7da.jpg","纵148厘米，横59.4厘米",[328],{"id":18696,"slug":18697,"title":18698,"dynasty":54,"author":2091,"museum":447,"description":18699,"tags":18700,"thumbUrl":18701,"material":327,"size":18702,"collection":90,"collections":18703,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":49},219041,"shuang-niu-tu-han-huang-219041","双牛图","这幅画画在一个平坦的斜坡上，左边是一棵断裂枯萎的老树，画面中间是两头牛，一前一后，正在前进，前面的牧童骑着牛，后面的牧童跟着牛。",[7,23,25,173,28,151,106,384,176,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe648b205f631048024faea7c42d32cae.jpg","纵35.6横93.5厘米",[90],{"id":18705,"slug":18706,"title":18707,"dynasty":189,"author":13039,"museum":206,"description":18708,"tags":18709,"thumbUrl":18710,"material":88,"size":18711,"collection":181,"collections":18712,"showCount":18533,"zanCount":1009,"manualWeight":48,"mainColor":94},219010,"cai-ling-tu-zhao-yong-219010","采菱图","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[7,23,173,27,177,86,263,29,1365,176,35,34,2310,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[181],{"id":18714,"slug":18715,"title":18716,"dynasty":54,"author":2091,"museum":20,"description":18717,"tags":18718,"thumbUrl":18720,"material":327,"size":139,"collection":90,"collections":18721,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},218914,"feng-ren-tu-han-huang-218914","丰稔图","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[7,23,25,27,28,86,178,263,151,106,18719,34,1003],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[90,328],{"id":18723,"slug":18724,"title":14598,"dynasty":76,"author":18725,"museum":78,"description":18726,"tags":18727,"thumbUrl":18728,"material":123,"size":139,"collection":44,"collections":18729,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},218481,"ying-xi-tu-hua-nie-218481","华喦","冬日雪后，稚童们围聚戏雪。有的掬雪塑形，指尖翻飞间雪团渐成朦胧佛影；有的俯身拾趣，眉眼间满是专注与欢喜。人物勾勒简括灵动，衣纹线条流转自然，雪地以淡墨晕染留白相映，清逸中透着融融暖意。旁题“儿童亦爱西成佛”，将童真嬉戏与禅意悄然融合，雅趣横生。笔墨兼工带写，既捕捉孩童憨态可掬的神情，又融入文人闲情逸致，画面鲜活而富有韵致，似能听见雪地里清脆的笑语，尽显生活之趣与艺术之美。",[7,23,24,173,27,106,8652,9044,1775,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c292e75fb05f70d009d0f38e72f3e82.jpg",[44],{"id":18731,"slug":18732,"title":18733,"dynasty":18,"author":676,"museum":311,"description":18734,"tags":18735,"thumbUrl":18736,"material":327,"size":18737,"collection":42,"collections":18738,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":49},218095,"bai-miao-shou-lie-tu-juan-li-gong-lin-218095","白描狩猎图卷","白描狩猎图卷是一幅巨大的屏风画，共有四卷，每卷长约10米，宽约1.5米。它描绘了一场盛大的狩猎活动，其中参加狩猎的人物有皇帝、皇后、王子和贵族，以及许多官员和太监。画面中还有各种各样的动物，包括骏马、鹿、鸟和兔子。\n\n李公麟的白描狩猎图卷以其精细的绘画技巧和丰富的内容而闻名。他使用了白色和黑色的墨水，在白色的底纸上绘制出细腻的线条。他还使用了许多细节，比如服装上的绣花和皇家徽章，以及动物身上的斑点和杂毛。\n\n白描狩猎图卷被认为是宋朝绘画史上的杰作，也是李公麟最著名的作品之一。它不仅是一幅精美的艺术品，还是对当时宋朝社会、文化和政治的重要记录。",[7,209,23,24,25,244,106,29,150,8436,808,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca98a46e48106d01d0de91429a75d903.jpg","36.8×819",[42],{"id":18740,"slug":18741,"title":18742,"dynasty":76,"author":336,"museum":206,"description":18743,"tags":18744,"thumbUrl":18745,"material":123,"size":18746,"collection":44,"collections":18747,"showCount":18533,"zanCount":2209,"man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诣坛）","手卷中钜细靡遗地绘出迤逦的随员行列、声势壮盛的仪仗、采桑的命妇、盛装端坐观礼的皇后，画风精细工整，设色明丽。皇后的形象虽小，但一丝不茍，宛如肖像画般具有个人特性，与郎世宁所绘〈高宗帝后像〉中的皇后像十分接近，当为有所凭据而作，而且很可能是出自郎世宁之手。本院同时也收藏有孝贤皇后亲手为乾隆绣作的荷包，表示连位尊权贵的皇后都不能免於女红的训练。",[7,23,24,25,28,27,104,106,107,34,108,115,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa035dbde6b9f77803cb1de96015f22ca.jpg","51x762.8",[44],{"id":18749,"slug":18750,"title":18751,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":18752,"thumbUrl":18753,"material":699,"size":1567,"collection":139,"collections":18754,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":49},214348,"san-jue-shan-shui-ce-14-hua-yan-214348","三绝山水册-14",[7,209,23,24,81,173,27,29,229,109,10895,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19d67cc398c207896647efc1727e533f.jpg",[],{"id":18756,"slug":18757,"title":238,"dynasty":54,"author":239,"museum":311,"description":3858,"tags":18758,"thumbUrl":18759,"material":2164,"size":2165,"collection":139,"collections":18760,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},289986,"ba-shi-qi-shen-xian-juan-wu-dao-zi-289986",[7,209,23,24,25,244,106,243,13899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ff0a4375f3f773c38c1951165e4cfe.jpg",[],74,{"id":18763,"slug":18764,"title":18765,"dynasty":18,"author":746,"museum":311,"description":18766,"tags":18767,"thumbUrl":18768,"material":2164,"size":2165,"collection":139,"collections":18769,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},288998,"xiao-xiang-zhu-shi-tu-chang-juan-su-shi-288998","潇湘竹石图（长卷）","潇湘竹石图采用长卷式构图，展现湖南省零陵县西潇、湘二水合流处，遥接洞庭巨浸的苍茫景色。整幅画作以潇湘二水的交汇点为中心，远山烟水，风雨瘦竹，近水与云水、蹲石与远山、筱竹与烟树产生强烈对比，让人在窄窄画幅内如阅千里江山。",[7,209,23,24,25,173,29,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929d6054d285cd272a95cd49b582caaf.jpg",[],{"id":18771,"slug":18772,"title":18773,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":18774,"thumbUrl":18775,"material":2164,"size":2165,"collection":139,"collections":18776,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":94},288474,"cun-bian-xing-hua-bai-jing-xin-wu-chang-shuo-288474","村边杏花白镜心",[7,23,24,83,27,2380,34,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ca737f5bff74392f446ad17f4d8e5.jpg",[],{"id":18778,"slug":18779,"title":18780,"dynasty":54,"author":2644,"museum":311,"description":18781,"tags":18782,"thumbUrl":18783,"material":2164,"size":2165,"collection":139,"collections":18784,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},288361,"jiang-gan-xue-ji-tu-wang-wei-288361","江干雪霁图","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[7,209,23,24,25,173,29,2019,865,35,31,176,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18c80dfbf2d7b2f44a1ccaf36b3e7de.jpg",[],{"id":18786,"slug":18787,"title":18788,"dynasty":18,"author":2039,"museum":311,"description":18789,"tags":18790,"thumbUrl":18791,"material":2164,"size":2165,"collection":139,"collections":18792,"showCount":18761,"zanCount":1337,"manualWeight":48,"mainColor":94},285064,"xi-hu-tu-juan-li-song-285064","西湖图卷","以纸本水墨图绘西湖全景，画中心突出明净湖水，四围群山环绕，雷峰塔、孤山、双峰插云、断桥诸名胜皆隐现于烟锁雾迷之中，画风上于马远、夏圭之外，自出机杼。 全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[7,209,23,24,25,173,29,107,174,109,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],{"id":18794,"slug":18795,"title":18796,"dynasty":1483,"author":3526,"museum":311,"description":4379,"tags":18797,"thumbUrl":18799,"material":2164,"size":2165,"collection":139,"collections":18800,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},283640,"sang-luan-tie-tang-mo-ben-wang-xi-zhi-283640","丧乱帖（唐摹本)",[7,86,178,622,105,18798],"悲痛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a558189603d3fc9915d19c19c7d1a6.jpg",[],{"id":18802,"slug":18803,"title":18804,"dynasty":99,"author":18805,"museum":20,"description":18806,"tags":18807,"thumbUrl":18808,"material":841,"size":139,"collection":139,"collections":18809,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":94},234199,"mei-hua-juan-lu-fu-234199","梅花卷","陆復","陆复，明代人，字明本，自号梅花主人，江苏吴江人。善画墨梅。",[7,23,24,209,25,173,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71088b2bdc23a064be93938e4fef182c.jpg",[],{"id":18811,"slug":18812,"title":18813,"dynasty":99,"author":100,"museum":311,"description":18814,"tags":18815,"thumbUrl":18816,"material":139,"size":139,"collection":139,"collections":18817,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":49},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[7,23,24,225,27,28,26,29,106,175,34,109,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":18819,"slug":18820,"title":745,"dynasty":99,"author":18821,"museum":311,"description":18822,"tags":18823,"thumbUrl":18824,"material":139,"size":139,"collection":139,"collections":18825,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":94},228343,"mo-zhu-tu-wang-you-228343","王右","此作用笔老辣爽利，以浓墨挥写竹竿，劲挺舒展如君子立世；竹叶欹正交错，墨色干湿浓淡相映，错落间尽显偃仰生姿的清灵意态，留白空灵疏朗，衬出幽篁萧散之致。\n\n左侧行书题跋笔势跌宕奇逸，与竹的清刚风神相得益彰，诗书画印浑融一体，将竹的坚贞品格寄寓笔墨。整幅以意写形，脱去匠气，尽显文人写意画以物明志的幽远意趣，清逸苍劲，足见绘者不凡的笔墨功底与文人襟怀。",[7,23,25,173,226,86,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bce774dc22c38310f619a62d3623a.jpg",[],{"id":18827,"slug":18828,"title":18829,"dynasty":18,"author":12612,"museum":311,"description":18830,"tags":18831,"thumbUrl":18832,"material":139,"size":139,"collection":139,"collections":18833,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":49},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[7,209,23,25,26,27,28,177,29,107,108,109,174,34,106,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":18835,"slug":18836,"title":18837,"dynasty":76,"author":2924,"museum":311,"description":18838,"tags":18839,"thumbUrl":18840,"material":139,"size":139,"collection":139,"collections":18841,"showCount":18761,"zanCount":1337,"manualWeight":48,"mainColor":94},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[7,209,23,24,225,28,27,83,369,782,176,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],{"id":18843,"slug":18844,"title":18845,"dynasty":76,"author":18846,"museum":311,"description":18847,"tags":18848,"thumbUrl":18849,"material":699,"size":139,"collection":328,"collections":18850,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":4391},223267,"xin-jing-hong-yi-fa-shi-223267","心经","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[7,86,5152,243,621,263,24,25,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27ec99b239906b44c4d50798a9bb840.jpg",[328],{"id":18852,"slug":18853,"title":18854,"dynasty":99,"author":2242,"museum":260,"description":4480,"tags":18855,"thumbUrl":18856,"material":527,"size":4484,"collection":139,"collections":18857,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},222570,"hua-hui-tu-9-chen-chun-222570","花卉图9",[7,209,23,24,400,173,27,83,84,607,229,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f0254a2eb9eb07ea7e50656f0f7475.jpg",[],{"id":18859,"slug":18860,"title":18861,"dynasty":99,"author":10799,"museum":20,"description":18862,"tags":18863,"thumbUrl":18864,"material":2465,"size":18865,"collection":90,"collections":18866,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":255},222444,"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[7,23,24,225,173,400,83,297,226,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","纵155.3厘米，横78厘米",[90,163],{"id":18868,"slug":18869,"title":18870,"dynasty":99,"author":100,"museum":20,"description":1762,"tags":18871,"thumbUrl":18873,"material":40,"size":1766,"collection":139,"collections":18874,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图",[7,23,24,28,27,81,106,1322,35,29,109,1003,5557,115,18872],"地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg",[],{"id":18876,"slug":18877,"title":18878,"dynasty":99,"author":100,"museum":20,"description":1762,"tags":18879,"thumbUrl":18880,"material":40,"size":1766,"collection":139,"collections":18881,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水",[7,23,24,81,28,27,29,106,109,108,34,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg",[],{"id":18883,"slug":18884,"title":18885,"dynasty":18,"author":18886,"museum":9826,"description":18887,"tags":18888,"thumbUrl":18889,"material":40,"size":18890,"collection":42,"collections":18891,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":49},221680,"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[7,209,23,24,225,173,177,29,403,385,106,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[42,181,163],{"id":18893,"slug":18894,"title":18895,"dynasty":18,"author":5346,"museum":20,"description":18896,"tags":18897,"thumbUrl":18898,"material":18899,"size":18900,"collection":139,"collections":18901,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":94},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[7,23,25,173,177,24,86,178,263,29,557,37,34,966],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":18903,"slug":18904,"title":18905,"dynasty":18,"author":3475,"museum":311,"description":18906,"tags":18907,"thumbUrl":18908,"material":67,"size":3479,"collection":139,"collections":18909,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":49},221326,"chao-yuan-xian-zhang-tu-di-yi-duan-wu-zong-yuan-221326","朝元仙仗图-第一段","《朝元仙仗圖》為北宋宗教畫家武宗元所繪製的一幅絹本白描長卷， 曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[7,23,209,25,244,243,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6bd28a60a6c338f34ccc4c8b090642.jpg",[],{"id":18911,"slug":18912,"title":18913,"dynasty":18,"author":323,"museum":311,"description":18914,"tags":18915,"thumbUrl":18920,"material":18921,"size":18922,"collection":328,"collections":18923,"showCount":18761,"zanCount":1337,"manualWeight":48,"mainColor":94},221275,"li-hua-shi-huang-ting-jian-221275","梨花诗","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[7,24,86,25,178,1409,4693,115,1775,18916,18917,62,175,2608,282,9575,18918,18919],"月","春","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[328],{"id":18925,"slug":18926,"title":18927,"dynasty":18,"author":278,"museum":206,"description":18928,"tags":18929,"thumbUrl":18931,"material":123,"size":18932,"collection":42,"collections":18933,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":49},221238,"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[7,209,23,24,225,28,27,83,18930,3899,266,2019,283],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[42,90,45],{"id":18935,"slug":18936,"title":15208,"dynasty":204,"author":15209,"museum":1666,"description":15210,"tags":18937,"thumbUrl":18939,"material":699,"size":15213,"collection":44,"collections":18940,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":94},221177,"er-zu-diao-xin-tu-shi-ke-221177",[7,209,23,173,106,243,8436,18938],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231745a90758af093f0219512406582.jpg",[44,163],{"id":18942,"slug":18943,"title":18944,"dynasty":54,"author":616,"museum":8246,"description":18945,"tags":18946,"thumbUrl":18947,"material":2547,"size":18948,"collection":328,"collections":18949,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":255},221060,"zhu-shan-tang-lian-ju-quan-ben-yan-zhen-qing-221060","竹山堂连句全本","774年（唐大历九年）三月，时任湖州刺史的颜真卿在朋友潘述家的“竹山堂”中与部属李萼、陆羽、释皎然、陆士修、韦介等人聚会饮宴，席间吟诗，每人依次各作两句，相联成篇，是为《竹山堂连句》。后传为颜氏书录，时颜氏66岁。\n此书原装裱形式是整幅，后割裱成册，几近百衲，章法已破。颜氏书法一般都是横画细，竖画粗，雄强博大，气势磅礴，楷书墨迹首推《自书告身》，清雄严谨。而此书横、竖用笔毫无变化，无粗细之别，千篇一律，拘滞平板……然而册后米友仁奉宋高宗命跋尾两行，却是绍兴御府故物，可知此册裁减最迟不晚于绍兴时，但非颜氏墨迹。至于是唐人还是宋人的临本说法不一。",[7,86,621,25,620,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ea5aef3a6b5f52de93a223e0876adca.jpg","各开纵28.2cm、横13.7cm不等",[328,2097],{"id":18951,"slug":18952,"title":18953,"dynasty":99,"author":2494,"museum":56,"description":18954,"tags":18955,"thumbUrl":18956,"material":18957,"size":18958,"collection":181,"collections":18959,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[7,23,24,25,173,178,177,734,2279,34,35,194,468,1265,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[181,163],{"id":18961,"slug":18962,"title":18963,"dynasty":189,"author":645,"museum":20,"description":18964,"tags":18965,"thumbUrl":18966,"material":699,"size":18967,"collection":328,"collections":18968,"showCount":18761,"zanCount":1337,"manualWeight":48,"mainColor":94},220828,"er-zan-er-shi-juan-zhao-meng-fu-220828","二赞二诗卷","此帖是与好友相聚，一时酒酣的乘兴之作。纸质莹润光滑，信手写来，“神融笔畅”，滂沛悦然。款署“湖州观堂与受益外郎饮酒一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫”。“受益”名张谦，大德元年前后，曾官江浙行省检校。“观堂”是佛寺中修习的场 所。据赵氏《重修观堂记》，湖州的观堂始建于南宋嘉泰年 间，宋木毁圮严电，元至元二十一年曾重新修葺，历时十 年。赵文作于大德元年(1297)九月，本卷也应作于此时。卷未有明代卞荣、王世贞、董其昌、文震孟、陈继儒，清代英 和、永瑆跋。",[7,86,178,25,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44319ff5514e459206f70266d02ef940.jpg","纵27厘米横456.3厘米",[328],{"id":18970,"slug":18971,"title":18972,"dynasty":189,"author":767,"museum":206,"description":18973,"tags":18974,"thumbUrl":18975,"material":699,"size":18976,"collection":181,"collections":18977,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":49},220814,"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[7,23,209,29,173,225,177,734,282,34,466,770,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[181,163],{"id":18979,"slug":18980,"title":18981,"dynasty":189,"author":278,"museum":222,"description":18982,"tags":18983,"thumbUrl":18988,"material":27,"size":139,"collection":45,"collections":18989,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":49},219248,"shi-jia-san-zun-xiang-yi-ming-219248","释迦三尊像","三屏并置构局对称庄严，中央主尊端坐莲台，袈裟朱红如燃，衣纹流转似风拂涟漪；左普贤乘六牙白象，象踏祥云，彩饰环身；右文殊跨青狮，狮吼若闻，威凛自生。下方侍从或执杖肃立，或捧器躬身，衣袂飘举间线条劲健。设色虽历久斑驳，仍可见朱砂浓艳、石绿清润与泥金辉光相映，兼具宋画细腻工致与元人开阔气度，将佛国神圣与人间鲜活悄然融合，尽显元代佛画独特神韵——既承汉地传统笔墨之精，又融多元文化的开阔气象，是佛画艺术在时代交融中的生动遗存。",[7,23,243,225,28,27,106,6728,8045,12210,18984,18985,8567,7385,18986,18987,12209],"胁侍","坐骑","骑兽","胁侍菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0d370ff3dae005e118f1bc294f41e9.jpg",[45],{"id":18991,"slug":18992,"title":18993,"dynasty":18,"author":10082,"museum":206,"description":18994,"tags":18995,"thumbUrl":18996,"material":123,"size":18997,"collection":90,"collections":18998,"showCount":18761,"zanCount":2209,"manualWeight":48,"mainColor":629},218928,"ying-tu-wang-shen-218928","鹰图","秃鹰和狗争夺野鸡的画作",[7,23,209,225,28,27,83,4451,1628,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da43e23b75b5b5522d773dee5a0b8c2.jpg","136.7x69.7",[90],{"id":19000,"slug":19001,"title":19002,"dynasty":18,"author":278,"museum":206,"description":19003,"tags":19004,"thumbUrl":19005,"material":123,"size":19006,"collection":42,"collections":19007,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},218809,"jie-hua-lou-ge-1-yi-ming-218809","界画楼阁1","这幅画描绘了一个山间别墅的庭院，有雕花栏杆和奇花异木，这应该是一个富裕家庭的家。这座建筑的风格与署名为马麟的亭子相似，这幅画可以追溯到南宋时期。",[7,23,24,81,104,27,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f6e3d094caae67171695fac9a80a22.jpg","23.7x26.4",[42],{"id":19009,"slug":19010,"title":19011,"dynasty":189,"author":19012,"museum":101,"description":19013,"tags":19014,"thumbUrl":19015,"material":327,"size":19016,"collection":181,"collections":19017,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":49},218718,"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","夏永","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[7,23,24,104,244,173,107,29,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[181,163],{"id":19019,"slug":19020,"title":19021,"dynasty":76,"author":15455,"museum":20,"description":19022,"tags":19023,"thumbUrl":19024,"material":88,"size":19025,"collection":181,"collections":19026,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},218467,"ming-shan-fang-sheng-tu-cha-shi-biao-218467","名山访胜图","层峦叠嶂间，小径蜿蜒探入深林，溪流穿石而过，泠泠水声漫过石桥。苍松翠竹错落，墨色浓淡相宜——淡染的远山隐在云气中，含烟带雾；近坡的茅屋隐约，似有隐士栖居，添几分幽寂。笔触疏朗灵动，皴擦见山石肌理，水墨晕染出空濛之境，尽显山林清旷之趣。整幅画如淡远的诗，将寻访名山的雅致与自然静谧融于尺幅，引人入胜，心向往之。",[7,23,173,177,29,175,108,109,34,1422,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768529aa0c136cf7b2f2fb8485abd65f.jpg","150×58cm",[181],{"id":19028,"slug":19029,"title":19030,"dynasty":99,"author":19031,"museum":5803,"description":19032,"tags":19033,"thumbUrl":19034,"material":27,"size":139,"collection":44,"collections":19035,"showCount":18761,"zanCount":48,"manualWeight":48,"mainColor":94},216774,"ri-ben-xian-ren-gao-shi-tu-ping-feng-you-shou-ye-yong-de-216774","日本· 仙人高士图屏风（右）","狩野永德","虬松盘曲，枝叶垂荫，林间高士或立或行，衣袂轻扬。一人俯身似拾幽趣，几人对语如论玄言，神态闲适淡然，尽得超脱尘俗之致。背景山水晕染朦胧，草木疏朗，与人物清逸之姿相映成趣。笔墨简练传神，衣纹流转自然，树木皴法古雅，将林泉之幽、高士之韵融于尺幅，营造出空灵悠远的意境，尽显文人画的雅致情怀。",[7,299,173,244,27,106,34,176,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2dc8a5fc99d7b36be27e50fc56ec0a.jpg",[44],{"id":19037,"slug":19038,"title":19039,"dynasty":18,"author":508,"museum":311,"description":19040,"tags":19041,"thumbUrl":19043,"material":2164,"size":19044,"collection":139,"collections":19045,"showCount":19046,"zanCount":1337,"manualWeight":48,"mainColor":49},289554,"cao-chong-hua-die-tu-yan-yan-nv-shi-289554","草虫花蝶图","此卷描绘了一幅秋光明媚的花鸟长卷。画面中，在坡地、湖石之间，桂花、海棠、秋葵等花卉盛开、争奇斗艳，蝴蝶、蜜蜂、蜻蜓翻飞其间、形态各异，充满生机。此卷中花卉设色妍丽，虫蝶描绘栩栩如生而富于变化，与“勾勒纤细，敷色浓艳”的画院“院体”花鸟画风格十分相符，整体给人以写实细腻之感。此卷充分反映出艳艳女史作为一位女性画家出色的绘画技法，充满女性细致、淡雅之趣。",[7,23,209,25,83,28,27,84,511,512,19042,4693,696,16044],"飞蛾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378970eb9c0212617a3a0b5e28d792b0.jpg","绢本设色纵32.5厘米，横333.5厘米",[],73,{"id":19048,"slug":19049,"title":3315,"dynasty":204,"author":1839,"museum":311,"description":3316,"tags":19050,"thumbUrl":19051,"material":2164,"size":2165,"collection":139,"collections":19052,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":49},289334,"long-su-jiao-min-tu-dong-yuan-289334",[7,209,23,1218,27,177,557,31,34,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed712e724d0c3b83b224acb00bda72a0.jpg",[],{"id":19054,"slug":19055,"title":19056,"dynasty":76,"author":3223,"museum":206,"description":19057,"tags":19058,"thumbUrl":19059,"material":2164,"size":2165,"collection":139,"collections":19060,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":49},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[7,209,23,25,28,27,106,107,112,36,113,34,1656,5783,110,116,150,6926,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],{"id":19062,"slug":19063,"title":7068,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":19064,"thumbUrl":19065,"material":2164,"size":2165,"collection":139,"collections":19066,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":94},287691,"yu-shi-tu-juan-zhu-da-287691",[7,209,23,25,173,783,229,86,263,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144488368fb9fbbcc03e2eb8bd3da56.jpg",[],{"id":19068,"slug":19069,"title":19070,"dynasty":99,"author":278,"museum":311,"description":19071,"tags":19072,"thumbUrl":19075,"material":139,"size":139,"collection":139,"collections":19076,"showCount":19046,"zanCount":2209,"manualWeight":48,"mainColor":49},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[7,23,24,25,27,28,105,86,83,266,297,60,34,176,386,19073,136,19074],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":19078,"slug":19079,"title":19080,"dynasty":76,"author":4050,"museum":311,"description":19081,"tags":19082,"thumbUrl":19083,"material":139,"size":139,"collection":139,"collections":19084,"showCount":19046,"zanCount":2209,"manualWeight":48,"mainColor":94},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[7,209,23,24,225,173,177,29,865,558,466,109,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],{"id":19086,"slug":19087,"title":19088,"dynasty":18,"author":278,"museum":311,"description":19089,"tags":19090,"thumbUrl":19092,"material":139,"size":139,"collection":139,"collections":19093,"showCount":19046,"zanCount":2209,"manualWeight":48,"mainColor":94},227372,"yu-ying-shi-nv-tu-yi-ming-227372","浴婴仕女图","《浴婴图》南宋，佚名，绢本设色，纵35.8厘米，横35.9厘米，美国弗瑞尔美术馆藏。\n\n画面中共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义。",[7,209,23,24,28,27,106,59,19091,263,63],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2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(653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[7,23,24,26,27,104,29,107,176,34,1755,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],{"id":19103,"slug":19104,"title":19105,"dynasty":76,"author":278,"museum":311,"description":19106,"tags":19107,"thumbUrl":19109,"material":139,"size":139,"collection":139,"collections":19110,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":49},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[7,23,209,225,28,27,104,29,107,106,2019,115,34,151,35,19108],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":19112,"slug":19113,"title":19114,"dynasty":18,"author":278,"museum":311,"description":19115,"tags":19116,"thumbUrl":19117,"material":139,"size":139,"collection":139,"collections":19118,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":49},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[7,23,209,24,225,28,27,226,4541,2234,227,83,808,928,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":19120,"slug":19121,"title":19122,"dynasty":18,"author":278,"museum":20,"description":19123,"tags":19124,"thumbUrl":19125,"material":901,"size":19126,"collection":42,"collections":19127,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":49},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[7,209,23,24,25,27,29,34,108,109,174,35,177,28,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","纵24.5厘米，横185.5厘米",[42,181,163],{"id":19129,"slug":19130,"title":19131,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":19132,"thumbUrl":19133,"material":27,"size":1608,"collection":139,"collections":19134,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":94},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b",[7,209,23,24,81,28,27,83,370,371,84,658,11679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg",[],{"id":19136,"slug":19137,"title":19138,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":19139,"thumbUrl":19140,"material":27,"size":1608,"collection":139,"collections":19141,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":94},222740,"xian-e-chang-chun-tu-01b-lang-shi-ning-222740","仙萼长春图-01b",[7,23,24,81,27,83,28,264,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672474ab59f90287bfe66517e17cf0b7.jpg",[],{"id":19143,"slug":19144,"title":19145,"dynasty":99,"author":16949,"museum":20,"description":19146,"tags":19147,"thumbUrl":19149,"material":841,"size":19150,"collection":181,"collections":19151,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":94},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[7,23,25,27,177,29,108,109,175,34,770,174,106,19148,176,1871],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[181,45],{"id":19153,"slug":19154,"title":19155,"dynasty":99,"author":19156,"museum":311,"description":19157,"tags":19158,"thumbUrl":19159,"material":841,"size":19160,"collection":181,"collections":19161,"showCount":19046,"zanCount":1104,"manualWeight":48,"mainColor":94},222050,"xue-jing-tu-zhang-peng-222050","雪景图","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[7,23,173,177,29,225,2019,176,865,174,1542,107,4064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[181,163],{"id":19163,"slug":19164,"title":19165,"dynasty":189,"author":7354,"museum":206,"description":19166,"tags":19167,"thumbUrl":19169,"material":27,"size":19170,"collection":44,"collections":19171,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":49},221852,"hua-ke-jiu-si-xie-bin-feng-tu-juan-wang-zhen-peng-221852","画柯九思写豳风图卷","豳，在岐山北，为周先世立国之地。据说成王（？－西元前1021）幼年继位，周公（？－西元前1032）摄政，为令成王了解农桑为政教首务，并关心百姓的四季生活，作豳风晓谕周人祖先后稷、公刘稼穑重农的传统。此卷图绘〈豳风?七月〉，为孔子所辑《诗经》十五国风中最长的一首，由农事之始写至农事之终，先写衣食，次叙农耕蚕桑，最后论至打猎与秋收冬藏，共计八段，全卷青绿设色，每段旁书原文参照。旧题与跋均以为是元代王振鹏（活动于十四世纪前半），及柯九思（1290－1343）作品，然画中已见明代仇英（约1494－1552）影响，推测应为十六世纪后苏州托名之作。",[7,209,23,25,27,28,106,29,108,109,34,84,176,19168],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb935cec3f8c3cf1b21654d10eed78a.jpg","高53.8隔12本893隔12拖127厘米",[44,45],{"id":19173,"slug":19174,"title":19175,"dynasty":18,"author":1419,"museum":206,"description":15542,"tags":19176,"thumbUrl":19177,"material":19178,"size":19179,"collection":42,"collections":19180,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":49},221515,"hua-deng-shi-yan-tu-zhuang-biao-ma-yuan-221515","华灯侍宴图（装裱）",[7,23,24,28,27,29,107,34,106,104,114,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345c3f34a1ad94ec43a66b9c6788247.jpg","设色 墨本","111.9公分 横：53.5公分",[42,44,45],{"id":19182,"slug":19183,"title":1462,"dynasty":18,"author":708,"museum":206,"description":19184,"tags":19185,"thumbUrl":19186,"material":27,"size":19187,"collection":181,"collections":19188,"showCount":19046,"zanCount":48,"manualWeight":48,"mainColor":49},221226,"shan-shui-tu-xia-gui-221226","夏圭 (公元12世纪末-13世纪初) 亦称夏珪,字禹玉,钱塘(今浙江杭州)人,生卒不详,宁宗赵扩 (1195-1224)朝时画院待诏,赐金带。以擅绘山水而与同代的李唐、刘松年、马远一起被并称为“南宋四家”。在四家之中,夏圭以善于剪裁与美化自然景物的“边角景”构图,与同僚马远齐名,号称“马夏”。《山水家法》论他“气韵尤高,宜为一代名士”;《图绘宝鉴》评他:“院人中画山水,自李唐以下无出其右者也”,以此可见其在画史之中的地位。夏圭在画史之中的地位虽然显赫,但存留作品不多,且历来学术界对他的作品存在很大争议,直至目前尚很少有作品被一致公认是他的真迹。",[7,209,23,24,29,173,177,174,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[181,163],{"id":19190,"slug":19191,"title":19192,"dynasty":189,"author":645,"museum":56,"description":19193,"tags":19194,"thumbUrl":19196,"material":620,"size":19197,"collection":328,"collections":19198,"showCount":19046,"zanCount":1337,"manualWeight":48,"mainColor":629},220840,"shou-chun-tang-ji-zhao-meng-fu-220840","寿春堂记","《寿春堂记》书于元仁宗延祐三年（1316年），是融合二王、李邕而又出以劲肆之作。墨迹为清人陈廷庆所藏，历经王鸣盛、阮元、翁方纲、鉄保等人鉴定。清文宗嘉庆二年（1798年）在杭州抚勒上石，刻者吴厚生。原拓本有陈廷庆、王鸣盛等题跋或观款十二段，付印时除陈廷庆一跋外，余均略去。在题跋中，王鸣盛说；『此册笔法遒健。』铁保说：“是卷胎息大令， 而兼北海之恣纵，一洗平生流媚之习，真人书俱老之境。”石韫玉也说：“笔势若龙若骊，如快马入阵，纵横莫当。”这些都是有参考价值的评论。\n原文:延佑乙卯，嘉平之月，东里翁卜居郑乡里之溪西。平畴在其前，望极不得徼；湖山在其后，若有若无，隐隐可见。二溪双流在其左右，若抱珥然。乃作堂三间以为燕闲之所。梁柱桷榱，小大中度，不藻绘，不雕几，简如也，辉如也，豁如也。浚陂池以亭清沚，缭垣墉以谨限防。松篁桂桧梅橘蒲桃之属，绕屋扶疏。又杂植兰菊众香草，荫可愒，华可玩，实可采。明年三月既望，隆山牟应龙成甫扁曰“寿春”，会亲友以落之。客或指其扁而问焉，曰：“翁垂希年，康强少疾，一身之寿也；孝慈友弟，闺门肃雍，一家之春也，得非以是名乎？”翁笑曰：“吾之意不特为是。昔遭岁祲，身履忧虞，里闬萧条，吾馈三叹而寝十兴，危不自保，尝慨然谓里人曰：‘吾侪何日庶几得见时清岁康乎？’惟是数十年来，兵革不用，年谷屡丰，生齿日蕃，斯民皡皡然，熙熙然，如在寿域，如登春台，吾因得以暇日成吾堂，以供吾老，以长吾子孙而教之，时从父老饮酒于其上，得以遂有生之乐。闵闵焉如农夫之望其穑之成，慈母望其儿之长，朝夕徯之，幸酬愿，始为太平之幸民，喜当若何？且身寿健而家春和，固人情所甚愿然，必与众皆安，而后可。否则虽有此，岂能独乐哉？此吾名堂以自贺之本意也。”有少年疑焉，曰：“吾不知往事，翁之言无乃过与？”予曰：“往事，吾所亲见，盖以实而言，非过也。今夫波平如镜，锦缆徐牵，棹歌闲发，未知其可乐也，必尝值风涛之险，然后知之；平常无事，起居饮食，与众不殊，未知其可乐也，必尝值疢疾之苦，然后知之。向使翁生长太平之世，如邵尧夫未必知之若此其深、言之若此其切也。夫冀时之无事，己得安居而暇食者，善人也；冀时之多艰，己得行险以徼幸者，小人也。今翁之言如是，且先天下而后其私家，非厥心臧者，孰能之？吾以是知翁矣。”翁姓郑氏，里在乌程县东，其乡曰常乐，时夏四月记。翰林学士承旨荣禄大夫知制诰兼修国史赵孟頫书\n译文:文章大意是说1315年,一位老翁在一个前有平原后有群山，依山傍水的地方修建了三间屋子，虽然很简单，但是非常舒适。老翁在房前屋后栽种了松梅兰竹等等花草，又能遮阳，又能赏玩，非常惬意。隔年三月，做了一个匾额叫做寿春。坐落匾额的那天，还请来了亲朋好友。有个客人问:你身体健康，所以叫做寿；家庭和睦，家风肃清，叫做春，这就是名字的由来吧。老翁说不是，他早年生活坎坷颠沛，身不由己，朝夕不保，就常常感叹，什么时候才能过上太平清净的日子啊。近年来，太平盛世的，就象在寿域登春台一样，他才得以享此天伦之乐，所以起这个名字纪念一下。有个少年听了这个对话，很怀疑说：真的象你说的那样吗?是不是夸大其辞啊?我说：那些艰苦的岁月我都知道啊，老翁说的没有夸大。世上的事都是没有经历过苦就不知道甜，没有经历过颠沛流离，就不知道珍惜眼前的平常生活，如果老翁生活在太平盛世，他的体会也不会这么深刻。在安稳天平的时候，吃饱穿暖的，做好人；但遇到了不稳定危险的情况，就怀抱侥幸心理作恶，就变成了坏人。现在，老翁说的正是这个意思，所以他感谢这个好时候。况且，他先想到天下，后想到自己，是个智者好人啊。这个老人姓郑，居住在常乐乡乌程县东。这文章在4月时写成的。由翰林学士承旨荣禄大夫知制诰兼修国史的赵孟頫书写。",[7,86,621,24,4472,2547,19195],"碑记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bebb77d477ab2fb16f1300675c4f3b.jpg","32x1126厘米",[328],{"id":19200,"slug":19201,"title":19202,"dynasty":18,"author":746,"museum":206,"description":19203,"tags":19204,"thumbUrl":19205,"material":699,"size":19206,"collection":328,"collections":19207,"showCount":19046,"zanCount":1337,"manualWeight":48,"mainColor":94},220038,"jiang-shang-tie-su-shi-220038","江上帖","落笔如漫不经心，而整体布白自然错落，丰秀雅逸，端庄圆润，但不做作，笔法精严，但不拘束，作者的学问才气发于笔端，与书札的萧散风格相吻合。",[7,86,178,263,24,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e97c91c20d94825a2705d765b723d19.jpg","9行，58字",[328],{"id":19209,"slug":19210,"title":19211,"dynasty":18,"author":5793,"museum":20,"description":19212,"tags":19213,"thumbUrl":19214,"material":409,"size":19215,"collection":44,"collections":19216,"showCount":19046,"zanCount":2209,"manualWeight":48,"mainColor":94},219698,"you-jun-shu-shan-tu-liang-kai-219698","右军书扇图","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元初赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[7,23,173,25,2402,106,384,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f0b5917d813d0d1d8a70b22a64c5bf.jpg","纵27.9厘米，横66.2厘米",[44,328],{"id":19218,"slug":19219,"title":19220,"dynasty":189,"author":645,"museum":447,"description":19221,"tags":19222,"thumbUrl":19223,"material":123,"size":139,"collection":90,"collections":19224,"showCount":19046,"zanCount":2209,"manualWeight":48,"mainColor":49},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[7,23,24,225,27,28,150,384,86,178,263,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[90],{"id":19226,"slug":19227,"title":19228,"dynasty":18,"author":278,"museum":206,"description":19229,"tags":19230,"thumbUrl":19231,"material":123,"size":19232,"collection":42,"collections":19233,"showCount":19046,"zanCount":2209,"manualWeight":48,"mainColor":94},218838,"yue-ming-jin-su-tu-yi-ming-218838","月明金粟图","这幅画描绘了山中的一轮明月，一枝金桂（又称金粟）从天而降，香气远扬。其构图在古代和现代的折叠式微型画中是独一无二的，折叠式花枝伴随着远山、云彩和月亮。",[7,209,23,24,1352,28,27,285,979,759,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffe1f4cf683153ff158daeb9f1f5bf1.jpg","21.7x23.8",[42,90],{"id":19235,"slug":19236,"title":19237,"dynasty":76,"author":19238,"museum":20,"description":19239,"tags":19240,"thumbUrl":19242,"material":88,"size":19243,"collection":181,"collections":19244,"showCount":19046,"zanCount":2209,"manualWeight":48,"mainColor":94},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[7,23,24,25,27,28,177,86,178,263,29,264,557,31,7944,34,108,109,11779,37,770,19241,468],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[181],{"id":19246,"slug":19247,"title":19248,"dynasty":99,"author":19249,"museum":5803,"description":19250,"tags":19251,"thumbUrl":19252,"material":699,"size":19253,"collection":181,"collections":19254,"showCount":19046,"zanCount":2209,"manualWeight":48,"mainColor":49},216742,"ri-ben-zu-shi-tu-shou-ye-yuan-xin-216742","日本· 祖师图","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[7,7012,225,243,27,28,177,29,106,466,866,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[181],{"id":19256,"slug":19257,"title":19258,"dynasty":18,"author":708,"museum":311,"description":19259,"tags":19260,"thumbUrl":19262,"material":2164,"size":2165,"collection":139,"collections":19263,"showCount":19264,"zanCount":2209,"manualWeight":48,"mainColor":49},288245,"yan-xiu-lin-ju-tu-xia-gui-288245","烟岫林居图","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。",[7,23,1352,173,29,557,1365,37,108,4969,19261,177],"宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29dd1c63e1b60626ee479c62c6069bd4.jpg",[],72,{"id":19266,"slug":19267,"title":19268,"dynasty":99,"author":100,"museum":311,"description":3607,"tags":19269,"thumbUrl":19270,"material":2164,"size":2165,"collection":139,"collections":19271,"showCount":19264,"zanCount":1314,"manualWeight":48,"mainColor":94},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷",[7,209,23,24,25,28,27,106,2159,433,808,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],{"id":19273,"slug":19274,"title":9487,"dynasty":76,"author":1047,"museum":311,"description":19275,"tags":19276,"thumbUrl":19278,"material":1271,"size":139,"collection":139,"collections":19279,"showCount":19264,"zanCount":48,"manualWeight":48,"mainColor":94},234129,"hua-hui-tu-juan-zhu-da-234129","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。\n朱耷的绘画以水墨为多，用笔恣意纵横，浑厚酣畅，花鸟画成就突出。他在学习陈淳、徐渭等前代写意大家的同时，在绘画实践中逐渐突出用笔奇峭，构图险怪，造型夸张的特点，形成了强烈的个人风格，对后世的写意花鸟画发展产生了深远的影响。在他的花鸟画作品中，现收藏于天津博物馆的《河上花图》可谓精品中的精品。",[7,23,173,25,400,226,406,385,62,2267,928,19277],"蜂巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488c99931bac41583c1af07fdb126a07.jpg",[],{"id":19281,"slug":19282,"title":19283,"dynasty":189,"author":3051,"museum":101,"description":19284,"tags":19285,"thumbUrl":19286,"material":67,"size":19287,"collection":139,"collections":19288,"showCount":19264,"zanCount":1337,"manualWeight":48,"mainColor":49},232771,"hua-hui-cao-chong-tu-juan-qian-xuan-232771","花卉草虫图卷","钱选是宋末元初著名画家，与赵孟頫、王子中、牟应龙、肖子中、陈天逸、陈仲信、姚式并称为“吴兴八俊”。\n钱选人品及画品皆称誉当时。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。\n钱选的花鸟画成就最高，是元代继承宋代设色工笔花鸟画这一派中的代表人物。钱选特别善作折枝花木，是一位技法全面的画家。他的《花鸟图》所画花鸟用笔尽劲，细洁而光润，设色淡雅清丽，精巧传神。",[7,209,23,24,25,27,28,84,511,512,696,284,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9613502e8f0012e70f2245d5e7d000f1.jpg","纵26.8厘米，横120厘米",[],{"id":19290,"slug":19291,"title":19292,"dynasty":18,"author":708,"museum":206,"description":19293,"tags":19294,"thumbUrl":19295,"material":67,"size":19296,"collection":139,"collections":19297,"showCount":19264,"zanCount":48,"manualWeight":48,"mainColor":49},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[7,23,24,25,173,177,29,107,34,174,109,176,175,266,149,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":19299,"slug":19300,"title":19301,"dynasty":76,"author":19302,"museum":311,"description":19303,"tags":19304,"thumbUrl":19307,"material":139,"size":139,"collection":139,"collections":19308,"showCount":19264,"zanCount":48,"manualWeight":48,"mainColor":255},228968,"luo-hua-you-yu-tu-ma-yuan-yu-228968","落花游鱼图","马元驭","柔条垂拂牵缀艳红繁花，将暮春清韵轻轻铺展。水面之上，荇藻参差漾着细波，睡荇悬根随水轻摆，漾开空濛水色。数尾游鱼穿弋其间，摆尾逐着飘零落花，灵动悠然，把春水的生机藏在幽谧里。\n\n全作用没骨晕染，淡彩轻敷，将花叶柔润、柳条纤长的质感晕染尽致，未着一笔写水，却借藻荇与游鱼的姿态，将春水空明漾开。花随水去，鱼逐花影，把幽赏春池的闲逸融在笔底，观之便如临浅春水泽，漫生出恬然清和的诗意。",[7,23,24,225,27,83,19305,18197,1322,19306,28],"游鱼","水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84302d047146391e5135486d1a4f33c6.jpg",[],{"id":19310,"slug":19311,"title":19312,"dynasty":99,"author":817,"museum":311,"description":19313,"tags":19314,"thumbUrl":19315,"material":139,"size":139,"collection":139,"collections":19316,"showCount":19264,"zanCount":2209,"manualWeight":48,"mainColor":94},228872,"lan-zhu-tu-juan-wen-zheng-ming-228872","兰竹图卷","此卷以水墨写就兰竹，通幅铺陈疏密有致。墨竹或劲挺纵逸，或垂叶萧萧，以浓淡墨色区分前后层次，尽显风过篁林的灵动之态。兰草随势穿插于竹石间，笔致柔婉舒展，暗香幽然自生。\n\n卷尾行书题跋笔意秀雅流畅，与画境相得益彰，书画合璧尽显文人雅致。全作用笔清劲秀逸，以极简水墨托出兰竹君子清介之姿，将画者冲淡平和的襟怀寄于毫端，萧散清逸的幽致扑面而来，尽显文人写意的风雅意趣。",[7,209,23,24,25,173,86,406,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d42f07b1f36ad1f0ed4b8c48e3d8b.jpg",[],{"id":19318,"slug":19319,"title":19320,"dynasty":18,"author":278,"museum":206,"description":4721,"tags":19321,"thumbUrl":19323,"material":302,"size":4725,"collection":139,"collections":19324,"showCount":19264,"zanCount":2209,"manualWeight":48,"mainColor":49},227553,"nei-ren-shuang-lu-tu-gao-qing-chang-juan-yi-ming-227553","内人双陆图（高清长卷）",[7,209,23,24,25,28,27,106,1205,228,63,19322],"游戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa27a712d7149fa45d5a57a0744f2417c.jpg",[],{"id":19326,"slug":19327,"title":19328,"dynasty":204,"author":2585,"museum":311,"description":19329,"tags":19330,"thumbUrl":19331,"material":139,"size":139,"collection":139,"collections":19332,"showCount":19264,"zanCount":48,"manualWeight":48,"mainColor":49},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 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字孟思，号雪涛散人、青云生、养素处士，出生于杭州。因将其所学传递到吴门一带。是吾衍的弟子，擅长书法，尤其精通篆、隶。”他在篆书、隶书、印章方面都接受了吾衍的思想，并在这个基础之上有所发展。《篆书千字文》、《隶书离骚》、《九歌图卷跋》等流传于世。于1355年终于昆山。",[7,86,25,1163,5152,19522,263,5153,622],"道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1e531dcb0129a0625d73cecbc77670.jpg",[],71,{"id":19527,"slug":19528,"title":14574,"dynasty":18,"author":19529,"museum":311,"description":19530,"tags":19531,"thumbUrl":19533,"material":2164,"size":2165,"collection":139,"collections":19534,"showCount":19525,"zanCount":2209,"manualWeight":48,"mainColor":49},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","许道宁","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[7,209,23,25,173,1218,177,29,1079,174,865,19532,467,5535],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg",[],{"id":19536,"slug":19537,"title":8219,"dynasty":76,"author":5199,"museum":311,"description":19538,"tags":19539,"thumbUrl":19540,"material":2164,"size":2165,"collection":139,"collections":19541,"showCount":19525,"zanCount":48,"manualWeight":48,"mainColor":49},288499,"mei-hua-tu-li-zhou-wang-shi-shen-288499","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[7,23,24,209,225,173,83,402,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce92462c168f27ae0eaae5b49de4644d.jpg",[],{"id":19543,"slug":19544,"title":19545,"dynasty":99,"author":278,"museum":311,"description":19546,"tags":19547,"thumbUrl":19548,"material":2164,"size":2165,"collection":139,"collections":19549,"showCount":19525,"zanCount":48,"manualWeight":48,"mainColor":49},287391,"hu-die-hua-hui-ye-yi-ming-287391","蝴蝶花卉页","此作以沉雅地色衬景，坡岸之上一花挺生，柔茎舒展，叶片晕染出深浅层次，素色小花清雅柔婉。三蝶翩跹，色分浓淡，姿态各异，或逐花低回，或振翅缓翔，将郊野春时的悠然意趣凝于方寸。\n\n装裱织锦边框纹样精巧，与画面浑然相融。整作工致细腻，配色古静沉稳，不做繁丽铺陈，仅以清简技法勾勒闲逸生机，尽显小品雅致韵致，将虫花相伴的自然清趣娓娓铺展，恬淡动人，尽显古雅闲逸的东方意韵。",[7,23,24,83,27,28,84,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b8a85c99b2cd00f3ec6e578572fb29.jpg",[],{"id":19551,"slug":19552,"title":19553,"dynasty":277,"author":278,"museum":311,"description":19554,"tags":19555,"thumbUrl":19557,"material":2164,"size":2165,"collection":139,"collections":19558,"showCount":19525,"zanCount":48,"manualWeight":48,"mainColor":629},231613,"fu-hua-qian-shou-guan-yin-xiang-li-zhou-yi-ming-231613","佛画 千手观音像立轴","暗沉底色晕开静谧肃穆的氛围，主尊合掌垂眸，慈悲肃穆尽显。千臂层叠排布，或持法器、或结法印，错落有序却不显冗杂，衣纹褶皱古朴厚重，残存的贴金痕迹晕开旧时华贵光彩。\n\n左右胁侍恭谨分立，一人捧供盘奉呈信物，一人持经卷垂首凝神，衣饰绮丽繁复，与主尊浑朴庄严形成呼应。整体设色沉敛内敛，线条遒劲凝练，将仪轨整饬与神性慈悲相融，虽历经岁月色泽黯淡，依旧传递出厚重沉静的宗教感染力，尽显古佛画典雅庄重的美学意韵。",[7,23,24,225,243,27,28,106,1553,19556],"千手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8917d247ca8224fc3f2301f7f6315fe.jpg",[],{"id":19560,"slug":19561,"title":19562,"dynasty":76,"author":336,"museum":311,"description":19563,"tags":19564,"thumbUrl":19565,"material":139,"size":139,"collection":139,"collections":19566,"showCount":19525,"zanCount":2209,"manualWeight":48,"mainColor":49},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[7,209,23,24,28,27,106,150,2508,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],{"id":19568,"slug":19569,"title":19570,"dynasty":99,"author":10799,"museum":311,"description":19571,"tags":19572,"thumbUrl":19574,"material":139,"size":139,"collection":139,"collections":19575,"showCount":19525,"zanCount":2209,"manualWeight":48,"mainColor":49},228485,"qiao-lin-bai-que-tu-juan-lin-liang-228485","乔林百雀图卷","整卷以水墨挥毫，枯木槎枒间百雀各呈其态，飞栖鸣集无一雷同。劲爽墨笔勾勒禽鸟翎羽，干湿浓淡晕出绒羽蓬松质感，枯林苍劲荒疏，与群雀喧腾相映，在萧索冬日漾出盎然生趣。\n笔墨简括老辣，融院体工致与文人写意于一体，将小雀的灵动狡黠描摹入微，于长卷间铺展野逸灵动的自然意趣，尽显水墨花鸟纵逸格调，是水墨禽鸟画中极具表现力的佳构。",[7,23,24,25,173,400,83,19573,370,8688,926,283,266],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f738b6a6309084a7933eb775da10da.jpg",[],{"id":19577,"slug":19578,"title":19579,"dynasty":18,"author":1419,"museum":311,"description":19580,"tags":19581,"thumbUrl":19582,"material":139,"size":139,"collection":139,"collections":19583,"showCount":19525,"zanCount":48,"manualWeight":48,"mainColor":255},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824","秋江待渡图页","此作以边角取景，尽显空灵澹远之意趣。虬松扎根危崖，枝干苍劲扭转，松叶攒簇间带着秋意萧疏。远山以淡墨轻勾慢染，晕出朦胧黛色，江岸留白成阔朗秋水，愈衬出天地清寂。水岸泊着孤舟，舟上旅人静坐待渡，将羁旅闲愁融于冷寂江天之中。淡赭设色晕出秋日氛围感，笔致简劲秀逸，以少胜多，寥寥笔墨便勾勒出幽远无尽的诗意余韵，将山水间的清冷闲雅尽数藏于尺幅之间。",[7,23,209,24,81,173,177,27,29,174,866,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986bccab4158b6928756c26c3978e0d8.jpg",[],{"id":19585,"slug":19586,"title":19587,"dynasty":76,"author":1215,"museum":311,"description":19588,"tags":19589,"thumbUrl":19590,"material":139,"size":139,"collection":139,"collections":19591,"showCount":19525,"zanCount":1337,"manualWeight":48,"mainColor":49},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","此作用全景式构图铺展丘壑，主峰崔嵬凌天，层峦迤逦延展，兼具高远之雄与深远之幽。以披麻皴写山石肌理，笔触松秀温润，浅绛设色晕染柔和，古雅苍润间带着清和明丽。\n苍松虬枝横斜，涧谷飞泉隐现，山居茅舍错落掩映于林麓间，处处透着幽寂闲逸的林下意趣。题款书法清雅隽秀，与山水笔墨浑然相融，尽显宋元文人画平淡天真的意韵，将林泉高致的静穆之美，尽数凝于尺幅之间，是追摹古意又暗含己心的山水佳制。",[7,23,1218,27,177,1365,30,109,34,176,770,108,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],{"id":19593,"slug":19594,"title":19595,"dynasty":76,"author":582,"museum":583,"description":19596,"tags":19597,"thumbUrl":19601,"material":67,"size":19602,"collection":44,"collections":19603,"showCount":19525,"zanCount":2209,"manualWeight":48,"mainColor":49},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[7,315,209,23,24,225,28,27,106,59,61,369,19598,19599,286,19600,436],"桌","凳","书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[44],{"id":19605,"slug":19606,"title":19607,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":19608,"thumbUrl":19609,"material":27,"size":1608,"collection":139,"collections":19610,"showCount":19525,"zanCount":48,"manualWeight":48,"mainColor":94},222744,"xian-e-chang-chun-tu-03b-lang-shi-ning-222744","仙萼长春图-03b",[7,209,23,24,28,27,83,691,266,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00506c220c38058c15ebc098e593bc75.jpg",[],{"id":19612,"slug":19613,"title":8649,"dynasty":99,"author":19614,"museum":20,"description":19615,"tags":19616,"thumbUrl":19617,"material":40,"size":19618,"collection":44,"collections":19619,"showCount":19525,"zanCount":1337,"manualWeight":48,"mainColor":49},222049,"huo-lang-tu-ji-sheng-222049","计盛","“货郎图”属于风俗画，这一题材自宋代以来就十分流行。画面中货郎衣着整洁，儿童服饰华丽，货架上的各类物品丰富而精致。画法上刻画细腻，设色浓艳，已将宋人民间货郎图中的生活气息转化为宫廷贵族气息，因而又有“宫廷货郎”之称。",[7,23,24,27,28,104,106,4304,9615,300,5767,34,386,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379a6e73b4bffc5ce7f9a7fab61b9170.jpg","纵192.4厘米，横98.7厘米",[44,45],{"id":19621,"slug":19622,"title":19623,"dynasty":99,"author":936,"museum":56,"description":19624,"tags":19625,"thumbUrl":19626,"material":123,"size":19627,"collection":90,"collections":19628,"showCount":19525,"zanCount":2209,"manualWeight":48,"mainColor":629},221885,"dou-cao-tu-chen-hong-shou-221885","斗草图","这幅画作描绘的是端阳时节，仕女五人围坐石下斗草为戏的情节。人物神态生动微妙，各具神韵。湖石上盘曲老松，质量厚实，与疏朗的人物布局构成鲜明的对比，有利于打破构图的呆板。陈氏画风变形夸张，用笔谨劲连绵，如行云游丝，转折有力；设色艳而不俗。此作正是画家典型风格的代表作。款署[庚寅秋，老莲洪绶画于护兰书堂]。庚寅为清顺治七年，系公元一六五○年，陈洪绶时年五十三岁。款下钤[洪绶]朱文长方印。",[7,209,23,24,28,244,27,59,1365,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0622469e201b8215901cfacb0c5aa797.jpg","纵134.3、横48厘米",[90,45],{"id":19630,"slug":19631,"title":19632,"dynasty":18,"author":1699,"museum":206,"description":19633,"tags":19634,"thumbUrl":19636,"material":67,"size":19637,"collection":42,"collections":19638,"showCount":19525,"zanCount":2209,"manualWeight":48,"mainColor":49},221549,"luo-han-tu-1-liu-song-nian-221549","罗汉图1","该图画一罗汉，长眉深目，头角峥嵘，伏倚枯枝。旁绘一小僧展衣接受树上猿猴献果。该图描绘工丽精当，笔法劲秀。背景设色以墨为主。层层渲染，纯净明丽。人物则以敷彩为主，墨染为辅，对比明媚雅致",[7,209,23,243,2158,28,27,18311,19635,17891,7803],"僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a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84","梨花图","陈洪绶号曰老莲，章侯其字也，先祖原居河南许昌，南宋时随高宗南迁，定居于浙江诸暨枫桥镇。陈洪绶在少年时代即显示出在绘画艺术的天授之才，著名画家蓝瑛、孙杕看到陈洪绶十岁时的画作，惊叹道：“使斯人画成，道子、子昂均当北面，我辈尚敢措笔乎！”又曰：“此天授也”。此后陈随蓝、孙两师学习，继而研习、临摹古代大师传世之作，师法唐人，兼学宋元诸名家，人物、山水、花鸟无所不学，他的艺术天分加上勤学苦练使他很早就在画坛声名大振。 陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[7,23,24,225,28,27,83,1409,658,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","76×26 cm",[],{"id":19803,"slug":19804,"title":19805,"dynasty":18,"author":1419,"museum":311,"description":19806,"tags":19807,"thumbUrl":19808,"material":139,"size":139,"collection":139,"collections":19809,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":49},227817,"ju-bei-yao-yue-tu-ma-yuan-227817","举杯邀月图","此作用笔极简却意韵悠长，虬曲老梅斜探出崖壁，枝桠硬劲如屈铁，寥寥几笔便写尽枯寒清瘦之态。山坳屋角悬着冷月，清辉漫过嶙峋山石。水畔幽人席地而坐，似将一身襟怀尽数托付给溶溶月色与泠泠波光。\n画师以斧劈皴利落勾勒山石棱角，淡墨晕染出水色空濛，取景只撷边角小景，却以少胜多，把独酌邀月的疏旷禅意凝在咫尺绢本间，将文人寄心林泉、醉忘尘俗的隐逸情怀晕染尽致，空灵悠远的雅寂氛围扑面而来，余韵悠长。",[7,209,23,24,173,27,177,106,29,285,865,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747cfa4bb3157bd6ddb01ea703372731.jpg",[],{"id":19811,"slug":19812,"title":6211,"dynasty":18,"author":1699,"museum":311,"description":19813,"tags":19814,"thumbUrl":19815,"material":139,"size":139,"collection":139,"collections":19816,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":49},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[7,209,23,24,4850,26,27,29,106,108,109,150,34,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":19818,"slug":19819,"title":9905,"dynasty":204,"author":2585,"museum":222,"description":19820,"tags":19821,"thumbUrl":19822,"material":139,"size":139,"collection":139,"collections":19823,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":49},227598,"xi-shan-lan-re-tu-ju-ran-227598","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[7,23,173,29,225,177,734,282,384,114,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284d1d8ee4ace39214acee2790ee85be.jpg",[],{"id":19825,"slug":19826,"title":19827,"dynasty":1483,"author":19828,"museum":311,"description":19829,"tags":19830,"thumbUrl":19831,"material":139,"size":139,"collection":139,"collections":19832,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":94},227048,"ping-fu-tie-lu-ji-227048","平复帖","陆机","《平复帖》卷，晋，陆机书，纸本，手卷，纵23.7厘米，横20.6厘米 。\n草隶书9行86字。\n释文:\n“彥先羸瘵 ，恐難平復，往屬初病，慮不止此，此已爲慶。承使唯男，幸爲複失前憂耳。吳子楊往初來主，吾不能盡。臨西複來，威儀詳跱。舉動成觀，自軀體之美也。思識□量之邁前，勢所恒有，宜□稱之。夏伯榮寇亂之際，聞問不悉。”（释文据启功《〈平复帖〉说并释文》）\n《平复帖》内容涉及三个人物：贺循，字彦先，是陆机的朋友，身体多病，难以痊愈；陆机说他能够维持现状，已经可庆，又有子侍奉，可以无忧了。吴子杨，以前曾到过陆家，但未受到重视；如今将西行，复来相见，其威仪举动，自有一种较前不同的气宇轩昂之美；最后说到夏伯荣，他因寇乱阻隔，没有消息。\n《平复帖》的书写年代距今已有1700余年，是现存年代最早并真实可信的西晋名家法帖。它用秃笔写于麻纸之上，笔意婉转，风格平淡质朴，其字体为草隶书。《平复帖》在中国书法史上占有重要地位，同时对研究文字和书法变迁方面都有参考价值。\n根据尾纸董其昌、溥伟、傅增湘、赵椿年题跋，可得知《平复帖》历代递藏情况。此帖宋代入宣和内府，明万历间归韩世能、韩逢禧父子，再归张丑。清初递经葛君常、王济、冯铨、梁清标、安岐等人之手归入乾隆内府，再赐给皇十一子成亲王永瑆。光绪年间为恭亲王奕訢所有，并由其孙溥伟、溥儒继承。后溥儒为筹集亲丧费用，将此帖待价而沽，经傅增湘从中斡旋，最终由张伯驹以巨金购得。张氏夫妇于1956年将《平复帖》捐献国家。\n清吴其贞《书画记》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[7,86,2570,622,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d2a5b8673609f128d22c45974e653b.jpg",[],{"id":19834,"slug":19835,"title":19836,"dynasty":76,"author":3676,"museum":311,"description":4387,"tags":19837,"thumbUrl":19838,"material":527,"size":19839,"collection":90,"collections":19840,"showCount":19764,"zanCount":2209,"manualWeight":48,"mainColor":94},224220,"chun-feng-chui-chu-hong-wu-chang-shuo-224220","春风吹出红",[7,23,24,83,27,173,86,263,369,607,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe082f7e60dc29bf6eac47500e2168d46.jpg","69x104厘米",[90,45],{"id":19842,"slug":19843,"title":19844,"dynasty":76,"author":3676,"museum":311,"description":19845,"tags":19846,"thumbUrl":19848,"material":139,"size":139,"collection":139,"collections":19849,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":94},224216,"tian-zhu-shui-xian-zhou-wu-chang-shuo-224216","天竹水仙轴","《艺海集珍》是26年月1日文物出版社出版的图书，作者是刘麒子。\n本集所收中国近现代 作品一百六十余件，均来自私家收藏。\n值得强调的是，这些藏品的拥有者本人既是具备一定实力的书画篆刻家，又是活跃在 界的业余鉴赏家。\n本集收录了国内私家收藏的中国近现代著名书画家作品计一百六十余件，包括任伯年、蒲华、吴昌硕、黄宾虹、张大千、马一浮、吴湖帆、弘一、吴茀之、沙孟海、周昌谷、潘天寿、沈尹默、傅抱石、齐白石、江寒汀、程十发、黄胄、陆俨少、陆维钊、启功、朱屺瞻、陈佩秋、唐云等。\n竹石公鸡图轴 钟魁啖鬼图轴 人物故事图四屏 溪堂烟壑图轴 林泉野屋图轴 牡丹湖石图轴 博古菊花图轴 松庐山居图轴 岁朝清供图轴 黄菊寿石图轴 墨竹图轴 博古红梅图轴 行书文稿手卷 天竹水仙图轴 竹石图轴",[7,23,225,27,400,83,19847,405,283,263],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe34ea47443956a65404d4783bc4513f9.jpg",[],{"id":19851,"slug":19852,"title":83,"dynasty":76,"author":1563,"museum":311,"description":19853,"tags":19854,"thumbUrl":19855,"material":2164,"size":2165,"collection":139,"collections":19856,"showCount":19764,"zanCount":1337,"manualWeight":48,"mainColor":4391},224162,"hua-niao-hua-yan-224162","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[7,23,24,27,83,370,926,282,283,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8abdb76674bf8f6b4a883e5a267d9d69.jpg",[],{"id":19858,"slug":19859,"title":19860,"dynasty":18,"author":278,"museum":1666,"description":19861,"tags":19862,"thumbUrl":19863,"material":40,"size":19864,"collection":139,"collections":19865,"showCount":19764,"zanCount":1314,"manualWeight":48,"mainColor":629},223578,"xuan-zang-san-zang-xiang-li-zhou-yi-ming-223578","玄奘三藏像立轴","绘玄奘大师赤足芒履，体态壮硕，略有疲惫，身负满载佛经的行笈，右手拿着拂尘，前悬灯盏，日夜兼程、西去取经。",[7,23,24,225,243,106,27,28,436,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F543bc49dad0fa1d57d1f2a920b223347.jpg","135.1×59.9cm",[],{"id":19867,"slug":19868,"title":19869,"dynasty":76,"author":336,"museum":311,"description":8128,"tags":19870,"thumbUrl":19871,"material":40,"size":139,"collection":90,"collections":19872,"showCount":19764,"zanCount":2209,"manualWeight":48,"mainColor":49},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴",[7,23,209,225,27,28,266,808,1365,866,466,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[90,45],{"id":19874,"slug":19875,"title":19876,"dynasty":99,"author":817,"museum":206,"description":19877,"tags":19878,"thumbUrl":19879,"material":712,"size":139,"collection":181,"collections":19880,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":94},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[7,23,24,225,173,177,105,29,2019,176,34,466,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[181,45],{"id":19882,"slug":19883,"title":19884,"dynasty":99,"author":936,"museum":20,"description":19885,"tags":19886,"thumbUrl":19887,"material":1488,"size":19888,"collection":90,"collections":19889,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":94},221894,"mei-shi-tu-zhou-chen-hong-shou-221894","梅石图轴","本幅署款“老蓮洪綬畫于柳莊”。钤“蓮白衣”。\n是图以古拙奇特的造型绘拳石耸立，旁伴一株被截去诸多枝干的老梅树，树上几朵梅花绽蕾展瓣。构图简约洗练，并注重物象间的相互衬托与对比。画石用线勾出圆润的外形，再以淡墨渲染。画梅则用浓、枯墨笔勾勒，线条古拙方硬，具金石韵味，体现了老梅饱经沧桑的古木气息。\n清内府《石渠宝笈》著录。",[7,23,24,225,173,402,229,866,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccbca84501d57cd1d024bcd73a8d609.jpg","纵115.2厘米，横56厘米",[90,163],{"id":19891,"slug":19892,"title":19893,"dynasty":18,"author":19894,"museum":311,"description":19895,"tags":19896,"thumbUrl":19897,"material":19898,"size":19899,"collection":42,"collections":19900,"showCount":19764,"zanCount":2209,"manualWeight":48,"mainColor":49},221599,"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[7,209,23,24,225,243,28,27,106,558,1365,109,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[42,44,45],{"id":19902,"slug":19903,"title":18290,"dynasty":18,"author":1419,"museum":206,"description":19904,"tags":19905,"thumbUrl":19906,"material":67,"size":18295,"collection":42,"collections":19907,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":49},221539,"xue-tan-shuang-lu-tu-ma-yuan-221539","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[7,23,24,209,173,177,2787,2019,14699,9481,865,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg",[42,90,45],{"id":19909,"slug":19910,"title":19911,"dynasty":189,"author":767,"museum":206,"description":19912,"tags":19913,"thumbUrl":19914,"material":19915,"size":19916,"collection":181,"collections":19917,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":94},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[7,23,24,225,173,177,29,175,34,176,109,35,466,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[181,163],{"id":19919,"slug":19920,"title":19921,"dynasty":76,"author":7147,"museum":311,"description":19922,"tags":19923,"thumbUrl":19924,"material":27,"size":139,"collection":90,"collections":19925,"showCount":19764,"zanCount":2209,"manualWeight":48,"mainColor":94},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[7,209,23,24,315,25,28,27,83,405,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[90],{"id":19927,"slug":19928,"title":19929,"dynasty":18,"author":19930,"museum":1098,"description":19931,"tags":19932,"thumbUrl":19933,"material":699,"size":19934,"collection":42,"collections":19935,"showCount":19764,"zanCount":1337,"manualWeight":48,"mainColor":629},220074,"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[7,23,24,25,244,106,150,1127,86,178,2570,621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[42],{"id":19937,"slug":19938,"title":19939,"dynasty":18,"author":19940,"museum":206,"description":19941,"tags":19942,"thumbUrl":19949,"material":123,"size":19950,"collection":44,"collections":19951,"showCount":19764,"zanCount":2209,"manualWeight":48,"mainColor":49},219695,"duan-yang-xi-ying-tu-su-chao-219695","端阳戏婴图","苏焯","画中描写端午节时的恶作剧，三个粉粧玉琢的胖娃娃中﹐穿红色肚兜的孩子左手拿著石榴，右手用绳系著蟾蜍，正要惊吓较小的孩子，另一个则赶来制止这场恶作剧，三孩童的手与脚皆带金钏玉饰﹐身上则佩挂长命锁﹐表示其出身的骄贵﹐衣纹图案细腻﹐利用淡染色块﹐十分成功地将人物衣著单薄下肌肤的质感表现出来。 更将人物的表情、神态很传神地掌握，像这个拿著蛤蟆的孩，一脸恶作剧的神情，连手上的蛤蟆也闪著狡猾得意的笑容，而惊吓过度的孩子则蹲在地上，双手护著头，十分害怕地颤抖著，不由得令人心生爱怜，另一个见义勇为的孩子，一个箭步赶来，神情坚定地要阻止这场恶作剧，空白的背景，更加凸显他们神气活现的面貌。",[7,23,24,28,27,106,4304,19943,1153,19944,19945,19946,19947,19948],"蟾蜍","长命锁","金钏玉饰","端阳","恶作剧","童趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3da25db485c4495d2fa1b8a9eaea3cf.jpg","纵：88.9公分，横：51.3公分",[44],{"id":19953,"slug":19954,"title":999,"dynasty":99,"author":19955,"museum":20,"description":19956,"tags":19957,"thumbUrl":19958,"material":409,"size":19959,"collection":90,"collections":19960,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":94},219358,"mu-niu-tu-li-lin-219358","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[7,23,24,25,173,400,178,263,151,106,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[90,163],{"id":19962,"slug":19963,"title":19964,"dynasty":99,"author":12570,"museum":20,"description":19965,"tags":19966,"thumbUrl":19968,"material":699,"size":19969,"collection":328,"collections":19970,"showCount":19764,"zanCount":1337,"manualWeight":48,"mainColor":94},219155,"xing-kai-shu-rong-deng-tie-ye-du-qiong-219155","行楷书·荣登帖页","此帖是杜琼写给吴宽的书信。吴宽于明成化八年（1472年）参加会试、廷试，皆第一，即杜琼所谓“荣登二元”——会元、状元，随后授翰林院修撰。杜琼信中请吴宽为杜家私园延绿亭“作重建延绿亭记”。信写于壬辰（成化八年，1472年）中秋时，这一年杜琼已77岁，且多病，两年后便逝世了。此帖结字瘦长，点划细润工丽，精劲俊峭，具有文人气质。",[7,86,178,621,19967,1116,173,263,622],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8ea1ebfbbbbed4a838ebb6eeebdb9.jpg","纵24.2厘米，横48.6厘米",[328],{"id":19972,"slug":19973,"title":19974,"dynasty":18,"author":278,"museum":206,"description":19975,"tags":19976,"thumbUrl":19977,"material":123,"size":19978,"collection":42,"collections":19979,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":94},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[7,23,209,24,29,27,177,403,109,150,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[42],{"id":19981,"slug":19982,"title":19983,"dynasty":189,"author":1539,"museum":206,"description":19984,"tags":19985,"thumbUrl":19986,"material":123,"size":139,"collection":181,"collections":19987,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":94},218765,"xu-xie-ting-quan-tu-wu-zhen-218765","虚榭听泉图","枯树虬枝如铁，墨色浓淡交织间尽显苍劲老辣。山泉自崖壁倾泻而下，细流蜿蜒，泠泠水声似在耳畔萦绕。林下虚榭空寂，虽无人影，却恍若有隐者凭栏，静听泉石相和，心随流水悠远。远山以淡墨晕染，云雾轻笼，更添空濛之致。整幅画笔墨简淡却意境深幽，散发出元人特有的隐逸气度，于静谧中藏生机，于朴拙中见灵秀。不事雕琢的线条里，浸透着散淡超脱的情怀，引人沉浸其中，暂忘尘俗纷扰，尽享自然之趣。每一处墨色的晕染、线条的勾勒，都藏着对天地的敬畏与对本心的坚守，让观者在无声的画面里，听见心灵与自然的共鸣。",[7,23,173,177,29,175,5650,109,866,176,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc9b3797243816d5b728fd7eeef1266.jpg",[181],{"id":19989,"slug":19990,"title":19991,"dynasty":18,"author":278,"museum":206,"description":19992,"tags":19993,"thumbUrl":19994,"material":123,"size":139,"collection":90,"collections":19995,"showCount":19764,"zanCount":1314,"manualWeight":48,"mainColor":94},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[7,209,23,24,1352,28,27,83,1292,370,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[90],{"id":19997,"slug":19998,"title":19999,"dynasty":18,"author":20000,"museum":311,"description":20001,"tags":20002,"thumbUrl":20003,"material":123,"size":139,"collection":45,"collections":20004,"showCount":19764,"zanCount":1337,"manualWeight":48,"mainColor":49},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[7,209,23,24,1352,27,29,106,175,108,109,402,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[45],{"id":20006,"slug":20007,"title":12157,"dynasty":18,"author":278,"museum":132,"description":12158,"tags":20008,"thumbUrl":12160,"material":123,"size":139,"collection":42,"collections":20009,"showCount":19764,"zanCount":1337,"manualWeight":48,"mainColor":49},218537,"e-xi-tu-yi-ming-218537",[7,23,24,1352,27,28,7725,227,384,282,263],[42,90],{"id":20011,"slug":20012,"title":20013,"dynasty":99,"author":17700,"museum":206,"description":20014,"tags":20015,"thumbUrl":20017,"material":123,"size":20018,"collection":44,"collections":20019,"showCount":19764,"zanCount":2209,"manualWeight":48,"mainColor":49},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[7,23,24,225,27,28,106,175,176,806,108,298,284,114,20016],"纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[44],{"id":20021,"slug":20022,"title":20023,"dynasty":99,"author":2146,"museum":20,"description":20024,"tags":20025,"thumbUrl":20026,"material":409,"size":20027,"collection":181,"collections":20028,"showCount":19764,"zanCount":2209,"manualWeight":48,"mainColor":94},218339,"gao-mu-ci-ya-tu-tang-yin-218339","高木慈鸦图","弧形扇面间，清寂之境徐徐铺展。枯树三五成丛，枝干虬曲如篆，焦墨勾勒处尽显苍劲老辣，墨色浓淡交错间藏着岁月痕迹。寒鸦数点，或栖于枝梢理羽，或振翅掠过天际，翅羽轻扬时添几分灵动生气。远山以淡墨晕染，云雾氤氲缭绕，与近树的沉郁形成虚实相映，层次悠远如幻。整幅画以简驭繁，笔墨洗练却意境深幽，文人画的雅致疏旷尽在其中——仿佛风过林间，鸦鸣隐约，方寸扇面竟藏得万千丘壑，引人沉湎于这份静谧与悠远。",[7,1352,23,24,173,177,266,34,7943,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc421b662148e119d639962a695dae4a6.jpg","纵16.5cm，横47.3cm",[181,163],{"id":20030,"slug":20031,"title":20032,"dynasty":99,"author":278,"museum":1098,"description":20033,"tags":20034,"thumbUrl":20035,"material":123,"size":20036,"collection":44,"collections":20037,"showCount":19764,"zanCount":1337,"manualWeight":48,"mainColor":49},215030,"si-ma-guang-gui-yin-tu-yi-ming-215030","司马光归隐图","独乐园 是宋代司马光在熙宁六年（1073年）左右建造的，虽然不是什么宏伟的房子，但因为司马光在这里写了《资治通鉴》，苏轼等人也在这里写了诗，所以它就出名了。李格非的《洛阳名园记》描述了该园的 水笔、读书堂、鱼贯寺、药园 和 竹园。《竹园》、《看山台》、《浇花》中也对这七种景象进行了简单的描述。这张图片是对竹子种植园的故事的描述。画中的鲜活人物可与晋国的陶渊明媲美。",[7,23,27,28,106,4272,109,176,13620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32007569961fc2242c4cd2050def5e9.jpg","76x136",[44],{"id":20039,"slug":20040,"title":20041,"dynasty":189,"author":645,"museum":206,"description":20042,"tags":20043,"thumbUrl":20044,"material":88,"size":20045,"collection":44,"collections":20046,"showCount":19764,"zanCount":48,"manualWeight":48,"mainColor":94},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[7,23,24,25,27,29,106,86,178,263,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[44],{"id":20048,"slug":20049,"title":11125,"dynasty":76,"author":20050,"museum":206,"description":20051,"tags":20052,"thumbUrl":20053,"material":409,"size":20054,"collection":328,"collections":20055,"showCount":19764,"zanCount":2209,"manualWeight":48,"mainColor":94},214233,"xing-shu-qi-yan-lian-ceng-guo-fan-214233","曾国藩","笺纸泛黄，墨色沉雄。行书笔意流畅却不失骨力，起笔如高山坠石，行笔似老树盘根，收笔若惊鸿掠影。联语祥瑞，灵芝美箭遍地生，绛阙云台留美名，字句间的吉庆与笔墨的刚健相得益彰。每一字结构端稳又带灵动，中锋行笔的厚重质感，仿佛承载着岁月的沉淀。书写者的从容气度跃然纸上，将相的沉雄与文人的雅致交融，书艺与文心完美契合，尽显古典书法的隽永韵味，令人观之忘俗。",[7,24,86,178,7024,225,263,173,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b508d6f53b2db738d1795cddeab2c3.jpg","174x38.1",[328],{"id":20057,"slug":20058,"title":12184,"dynasty":189,"author":20059,"museum":206,"description":20060,"tags":20061,"thumbUrl":20062,"material":409,"size":20063,"collection":328,"collections":20064,"showCount":19764,"zanCount":2209,"manualWeight":48,"mainColor":94},214221,"qi-yan-lv-shi-zhang-yu-214221","张雨","张雨师从赵孟𫖯，行楷处处可见赵氏书风的影响，但此卷却偏离了美学风格，有一种奇怪的野性。从头到尾，欧阳询的身影偶尔可见，但字的排列就像一个醉汉在移动，所用的墨汁有时厚重而枯涩，这可以看作是一个道士酒后心动的痕迹，或是追求浪漫的神来之笔。",[7,86,178,173,263,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f2d77af2252f23f19e281ffd2202f0.jpg","108.4x42.6",[328],{"id":20066,"slug":20067,"title":20068,"dynasty":99,"author":278,"museum":311,"description":20069,"tags":20070,"thumbUrl":20072,"material":2164,"size":2165,"collection":139,"collections":20073,"showCount":20074,"zanCount":2209,"manualWeight":48,"mainColor":49},287979,"bei-song-zhang-ze-duan-quan-jing-qing-ming-shang-he-tu-juan-ming-qing-mo-ben-yi-ming-287979","北宋张择端全景清明上河图卷(明清摹本)","这卷追摹之作，将北宋汴京的市井烟火铺展于绢素之上。朱墙之下屋舍错落，官署比邻商肆，黛瓦飞檐勾连着宋韵城坊肌理。街衢间人流如织，挑担货郎穿街过巷，沽酒食客围坐檐下，驻足交谈的路人、接引宾朋的店家，鲜活复刻着彼时的日常百态。\n\n画者以细腻笔触捕捉俗世鲜活，酒幌招摇、门板半敞，处处藏着汴京的喧嚣暖意，把千年前都城的熙攘意趣传神留存，让观者仿佛踏入彼时的春日长街。",[7,209,23,25,20071,27,28,104,106,107,4230,152,113,120,1656],"摹本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd02dd6db3b5b7381b799a8a64e635f.jpg",[],69,{"id":20076,"slug":20077,"title":18804,"dynasty":99,"author":18805,"museum":311,"description":20078,"tags":20079,"thumbUrl":20080,"material":139,"size":139,"collection":139,"collections":20081,"showCount":20074,"zanCount":1337,"manualWeight":48,"mainColor":94},235876,"mei-hua-juan-lu-fu-235876","此卷以水墨铺展千株寒梅，老干以淡墨晕染，苍朴遒劲，枝桠以浓墨勾勒，虬曲交错如铁骨盘空。繁花借留白晕出，似雪压枝头，星罗棋布却繁而不乱，淡墨轻笼朦胧烟霭，恍若月浸梅林，清寒幽寂扑面而来。\n\n整幅不见杂色，将梅之凌霜傲骨与疏淡雅逸融于笔底，冷香浮动的清逸之境跃然绢上，观之如身临雪后梅园，心神被梅的孤高澄澈涤荡，尽显冬日寒梅的孤洁神韵。",[7,209,23,24,25,173,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d929c8439fc9a29644b89d5ff6a22ad.jpg",[],{"id":20083,"slug":20084,"title":20085,"dynasty":76,"author":1047,"museum":311,"description":20086,"tags":20087,"thumbUrl":20088,"material":139,"size":139,"collection":139,"collections":20089,"showCount":20074,"zanCount":48,"manualWeight":48,"mainColor":94},231041,"mo-he-tu-zhu-da-231041","墨荷图","以水墨写就池上清景，中锋勾出的荷茎瘦劲挺拔，如孑然君子撑立水间。\n墨色干湿浓淡铺陈荷叶，泼墨淋漓间，或舒展如伞、或卷垂含露，留白处漾着空濛水意。敛藏半绽的花苞幽然独立，不见游鱼水藻，却满溢荷塘清宁冷逸的意趣。\n整幅删繁就简，将心绪寄寓花叶，以极简笔墨绘出疏旷隽雅的意境，笔底带着清冷孤傲的气韵，寥寥数笔便把池上清寂萧索又清绝的余韵铺展开来，淡远悠长。",[7,209,23,24,225,173,83,136,137,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a786a2b10460948ab44a52259f36d.jpg",[],{"id":20091,"slug":20092,"title":20093,"dynasty":76,"author":6172,"museum":311,"description":20094,"tags":20095,"thumbUrl":20096,"material":2164,"size":2165,"collection":139,"collections":20097,"showCount":20074,"zanCount":48,"manualWeight":48,"mainColor":49},230158,"peng-lai-xian-jing-tu-ping-12-tiao-ping-yuan-yao-230158","蓬莱仙境图屏-12条屏","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。",[7,23,27,104,28,177,29,107,1365,176,37,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd480a9dcef63f008711c8e7e61623.jpg",[],{"id":20099,"slug":20100,"title":16576,"dynasty":18,"author":461,"museum":311,"description":20101,"tags":20102,"thumbUrl":20103,"material":139,"size":139,"collection":139,"collections":20104,"showCount":20074,"zanCount":48,"manualWeight":48,"mainColor":49},227494,"shan-shui-tu-zhou-fan-kuan-227494","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[7,209,23,24,225,173,27,177,29,174,176,34,3024,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],{"id":20106,"slug":20107,"title":20108,"dynasty":76,"author":963,"museum":311,"description":20109,"tags":20110,"thumbUrl":20111,"material":139,"size":139,"collection":139,"collections":20112,"showCount":20074,"zanCount":48,"manualWeight":48,"mainColor":49},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[7,209,23,24,225,173,177,29,5174,176,31,12074,34,1423,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":20114,"slug":20115,"title":20116,"dynasty":18,"author":278,"museum":311,"description":7243,"tags":20117,"thumbUrl":20118,"material":7246,"size":7247,"collection":42,"collections":20119,"showCount":20074,"zanCount":48,"manualWeight":48,"mainColor":49},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷",[7,23,24,25,27,28,178,263,106,29,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg",[42,44,45],{"id":20121,"slug":20122,"title":20123,"dynasty":18,"author":278,"museum":78,"description":20124,"tags":20125,"thumbUrl":20128,"material":573,"size":20129,"collection":139,"collections":20130,"showCount":20074,"zanCount":1337,"manualWeight":48,"mainColor":49},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[7,23,24,25,27,28,106,59,4304,210,226,384,385,298,115,436,20126,3157,20127],"发饰","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],{"id":20132,"slug":20133,"title":20134,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":20135,"thumbUrl":20136,"material":27,"size":1608,"collection":139,"collections":20137,"showCount":20074,"zanCount":48,"manualWeight":48,"mainColor":94},222748,"xian-e-chang-chun-tu-05b-lang-shi-ning-222748","仙萼长春图-05b",[7,209,23,24,81,27,28,1126,83,370,84,926,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ff46c0b7d6fa3b8909b3f40b0c5a9.jpg",[],{"id":20139,"slug":20140,"title":6725,"dynasty":99,"author":278,"museum":2062,"description":6726,"tags":20141,"thumbUrl":20143,"material":538,"size":6731,"collection":139,"collections":20144,"showCount":20074,"zanCount":2209,"manualWeight":48,"mainColor":49},222145,"di-shi-tian-tu-dong-bi-yi-ming-222145",[7,538,8567,27,106,245,8568,8569,8570,8571,20142],"神祇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a2ab42d694db735e6d2550b1caa93e.jpg",[],{"id":20146,"slug":20147,"title":20148,"dynasty":99,"author":1014,"museum":20,"description":20149,"tags":20150,"thumbUrl":20151,"material":841,"size":20152,"collection":90,"collections":20153,"showCount":20074,"zanCount":1337,"manualWeight":48,"mainColor":94},222036,"kui-shi-xia-die-tu-zhou-dai-jin-222036","葵石峡蝶图轴","此幅画盛开的蜀葵一株，两只蝴蝶翩翩飞舞。\n在戴进的作品中，工笔设色花鸟并不多见，此图用笔细润，色彩清丽，既保留了宋代院体花鸟的工致，又吸收了元代钱选没骨设色的文雅之气。画面下端的湖石纹理粗糙，凹凸有致，与花卉草虫形成鲜明的对比。\n近代何昆玉、庞莱臣《虚斋名画录》卷二著录。",[7,209,23,225,27,28,83,6062,512,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7690becc18ef2b29aaf5e830a77ab9fb.jpg","纵115厘米，横39.6厘米",[90,45],{"id":20155,"slug":20156,"title":4458,"dynasty":18,"author":5793,"museum":1666,"description":20157,"tags":20158,"thumbUrl":20160,"material":67,"size":20161,"collection":139,"collections":20162,"showCount":20074,"zanCount":2209,"manualWeight":48,"mainColor":49},221615,"xue-jing-shan-shui-tu-liang-kai-221615","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[7,23,209,29,2019,106,6926,866,8666,176,173,177,28,20159],"荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb6676a5452362239059e95da23644d.jpg","111.3cmx49.7cm",[],{"id":20164,"slug":20165,"title":20166,"dynasty":18,"author":12789,"museum":20,"description":20167,"tags":20168,"thumbUrl":20169,"material":20170,"size":20171,"collection":328,"collections":20172,"showCount":20074,"zanCount":2209,"manualWeight":48,"mainColor":94},221195,"zun-juan-tie-lu-you-221195","尊眷帖","《尊眷帖》释文：\n遊惶恐拜問契家尊眷，共惟並擁壽祺。鏡中有委敢請，子聿六粗能勤苦，但恨不能卒業。函丈若不棄遺，尚未晚也。張七三哥□貧可念，官期尚遠，奈何。每爲之心折，顧無所置力耳。三丈亦念之否。遊惶恐再拜。\n本幅鉴藏印有“宋荦审定”、“凇洲”、“江恂之印”、“德畲借观”以及成亲王、成薰等。\n此帖内容为委请类，即陆游委请函丈帮助其幼子子聿完成学业。帖中言及的子聿为陆游之幼子，据陆游年谱知其生于淳熙四年丁酉（1177年），是年放翁53岁。“镜中”指绍兴镜湖即鉴湖，故此帖当书于家中。\n此帖结体颀长，笔画劲健，转折点画精致爽利，既可见杨凝式、苏轼及黄庭坚书法遗意，又自具面目。\n《书画鉴影》卷一著录，《海山仙馆藏真帖》卷三摹刻。",[7,24,86,178,173,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5f770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X 53 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墨竹 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秋草图屏风","俵屋宗雪","铺陈金箔素地，晕开柔和的秋日元晖。画面自左向右漫开野趣，左侧点点白花攒着翠叶，随屏风向右逐渐繁茂，莹白碎花团簇如云，间生苍绿荻草，穗芒轻曳似凝住了浅淡秋风。\n设色清润雅致，花叶勾勒细腻柔婉，留白衬着金地暖光，将秋野疏朗静美揉进屏间，带着侘寂悠然的和风禅意。仿佛能嗅到秋草混着细花的清芬，将转瞬秋意凝作永恒画中光景，尽显幽玄雅致的日式美学意趣。",[7,299,27,28,692,3899,20303,284,20304],"秋草","金碧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64fe109ba5703d79c1476831630b074.jpg",[],{"id":20308,"slug":20309,"title":20310,"dynasty":18,"author":708,"museum":311,"description":20311,"tags":20312,"thumbUrl":20313,"material":2164,"size":2165,"collection":139,"collections":20314,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":49},230785,"yan-xiu-lin-ju-tu-ye-xia-gui-230785","烟岫林居图页","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。",[7,23,24,209,81,173,177,29,8688,557,9728,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7707d298daece160ecc6b1e0761dcde9.jpg",[],{"id":20316,"slug":20317,"title":20318,"dynasty":18,"author":1419,"museum":311,"description":20319,"tags":20320,"thumbUrl":20322,"material":139,"size":139,"collection":139,"collections":20323,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":49},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[7,209,23,24,1218,104,175,1365,176,1265,173,27,177,20321,3723,13437,263],"边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],{"id":20325,"slug":20326,"title":20327,"dynasty":76,"author":1584,"museum":56,"description":20328,"tags":20329,"thumbUrl":20330,"material":527,"size":20331,"collection":181,"collections":20332,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":94},224388,"shan-zhong-zao-chun-tu-wang-yuan-qi-224388","山中早春图","此画写重山复岭，纵向逶迤，松溪水榭，亭桥山居，错落其间，层次深远。构图平中带险，笔法秀劲，气韵苍润，色调沉着凝重，不失为晚年之佳作。",[7,23,1218,27,177,734,282,34,1365,558,114,468,1265,5957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb20b6bf1f9e17cdf68c0ce52a990f7.jpg","纵100cm，横44.7cm",[181],{"id":20334,"slug":20335,"title":2155,"dynasty":18,"author":278,"museum":311,"description":20336,"tags":20337,"thumbUrl":20338,"material":139,"size":139,"collection":139,"collections":20339,"showCount":20287,"zanCount":1337,"manualWeight":48,"mainColor":49},223655,"song-zi-tian-wang-tu-yi-ming-223655","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[7,209,23,24,25,244,243,106,433,808,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],{"id":20341,"slug":20342,"title":20343,"dynasty":18,"author":278,"museum":311,"description":20344,"tags":20345,"thumbUrl":20346,"material":139,"size":139,"collection":139,"collections":20347,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":94},223596,"guan-shou-guan-hua-tu-yi-ming-223596","盥手观花图","庭院清寂，仕女方盥手罢，正凝睇案头花簇。画面虚实相衬，左侧留白更衬出右侧庭院的幽谧雅致。长案错落陈开花卉、妆具，器物勾勒工细古雅，尽显深闺陈设的精致意趣。\n\n仕女身姿温婉端丽，两名侍女或持团扇或奉巾侍立，情态柔婉生动，将深闺日常的闲雅意趣缓缓铺陈。设色古雅沉静，棕褐底色晕染出庭院朦胧静谧的氛围，衣袂的素净浅淡与花簇的明丽鲜活相映晕合，笔触柔润细腻。\n\n画笔致工秀含蓄，将宋人娴静内敛的审美意趣融于闺中清赏的日常里，晕开淡远悠长的东方诗意。",[7,209,23,24,27,28,106,59,228,62,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43601ebbe84e62c48f0a06a97221751c.jpg",[],{"id":20349,"slug":20350,"title":20351,"dynasty":76,"author":336,"museum":206,"description":10745,"tags":20352,"thumbUrl":20353,"material":573,"size":10749,"collection":181,"collections":20354,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":703},222766,"shi-er-yue-ling-tu-7-yue-lang-shi-ning-222766","十二月令图（7月）",[7,28,27,104,106,107,29,34,175,115,8508,298,1265,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425083d660510da46b778f7c49814e14.jpg",[181,45],{"id":20356,"slug":20357,"title":20358,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":20359,"thumbUrl":20360,"material":27,"size":1608,"collection":139,"collections":20361,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":94},222745,"xian-e-chang-chun-tu-04a-lang-shi-ning-222745","仙萼长春图-04a",[7,76,28,27,1126,8725,83,512,84,2598,284,11679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83adf550c4dfb61e69df42d9f19a27ee.jpg",[],{"id":20363,"slug":20364,"title":20365,"dynasty":99,"author":20366,"museum":1529,"description":20367,"tags":20368,"thumbUrl":20374,"material":139,"size":20375,"collection":139,"collections":20376,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":94},222075,"kun-yu-wan-guo-quan-tu-li-ma-dou-222075","坤舆万国全图","利玛窦","《坤舆万国全图》是意大利耶稣会的传教士利玛窦在中国传教时与李之藻合作刊刻的世界地图，该图于明万历三十年在北京付印后，刻本在国内已经失传。南京博物院所藏《坤舆万国全图》为明万历三十六年（1608）宫廷中的彩色摹绘本，是国内现存最早的、也是唯一的一幅据刻本摹绘的世界地图。\n利玛窦绘制《坤舆万国全图》时，以当时的西方世界地图为蓝本，并改变了当时通行的将欧洲居于地图中央的格局，把子午线向左移动170度从而将亚洲东部居于世界地图的中央，这样，中国就自然而然位于该图的中心。此举开创了中国绘制世界地图的模式。",[7,27,8041,1126,20369,20370,20371,20372,20373],"陆地","海洋","经纬线","地理","地图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ebe279fb74033ccd7435beb56cf881.jpg","高5英尺（1.52米），宽12英尺（3.66米）",[],{"id":20378,"slug":20379,"title":20380,"dynasty":99,"author":817,"museum":20,"description":20381,"tags":20382,"thumbUrl":20383,"material":20384,"size":16089,"collection":20385,"collections":20386,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":94},221971,"lan-ting-xiu-qi-tu-quan-juan-wen-zheng-ming-221971","兰亭修契图全卷","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。\n卷尾下钤“徵明父印”、“徵仲父印”，右下有“雪坪心赏”、“杜氏藏画”印，左下有“与古维新”印。尾纸首段是文徵明临写王羲之所书的《兰亭序》，其后又有文氏行书自题一段：“曾君曰潜，自号兰亭，余为其写《流觞图》，既临褉帖，兰之复赋，此诗发其命名之意，壬寅五月。”“猗兰亭子袭清芬，珍重山阴迹未陈。高音漫传幽谷操，清真重见永和人。香生环珮光风远，秀茁庭阶玉树新。何必流觞须上巳，一簾（芳？）意四时春。文徵明”。钤“徵明印”、“悟言室印”。由此可知，因曾潜的号与“兰亭修褉”发生的地点相同，文氏便将这一题材入画，并为之题诗，贻赠友朋。尾纸另有王穀祥、陆师道、许初、文彭、文嘉、周复后的题跋。壬寅年为明嘉靖二十一年（1542年）。",[7,23,24,25,27,28,178,29,106,175,109,1082,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb0d378f8205d4f6be244afbdc9303a.jpg","金笺地，设色","山水精选",[20385],{"id":20388,"slug":20389,"title":20390,"dynasty":18,"author":4966,"museum":20,"description":20391,"tags":20392,"thumbUrl":20393,"material":67,"size":20394,"collection":42,"collections":20395,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":49},221426,"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[7,23,24,29,177,27,13661,734,384,108,109,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[42,181,163],{"id":20397,"slug":20398,"title":20399,"dynasty":18,"author":20400,"museum":20,"description":20401,"tags":20402,"thumbUrl":20403,"material":123,"size":20404,"collection":328,"collections":20405,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":94},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[7,209,23,24,25,178,86,173,29,174,2019,3019,1231,9574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[328],{"id":20407,"slug":20408,"title":20409,"dynasty":54,"author":8342,"museum":56,"description":20410,"tags":20411,"thumbUrl":20412,"material":20413,"size":20414,"collection":328,"collections":20415,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":94},221105,"zhong-ni-meng-dian-tie-ou-yang-xun-221105","仲尼梦奠帖","用笔\n《仲尼梦奠帖》用笔清峻，锋芒毕露，给人以锐利、刻厉之感。其用笔有两个主要特点，一是侧锋入纸，起笔无不锐利，显然是魏碑笔法。下笔直截了当，不藏锋敛迹，加之行笔稍快，如剑戟般的锋芒便外耀无遗了。二是转折顿挫带来的刻厉。在唐书家中，初唐的柔和之风的特征之一就是化方为圆。这样，不仅消失了方角使之更为圆转灵活，而且也加快了书写的速度。欧阳询丝毫不受这种化方转圆的影响，他的转折仍然是重而方，不减作楷书之法，如“仲尼”、“有”、“周”，尽骨节之露，如“奠”之第二笔，起讫三折笔，如怪石嶙峋，与北魏的刀刻痕迹何其相似。可是，这样的笔触是很需要有分寸感的，稍微过头则为造作。在这方面，像欧阳询这样的行家也未能幸免，如“数”字就是一个病例，其“文”字旁起笔牛头角状，十分不雅，有趣的是把这一角状遮去后，这一个字反而格外的流畅、顺眼了。《仲尼梦奠帖》像“过”字这样圆转灵活、随意自然的笔触并不多，全篇的创作仍然是庄严的、认真的，作者创作心态似乎也不轻松，一副如《九成宫碑》那样的庙堂面孔。 [8]\n\n结体\n《仲尼梦奠帖》结体有独特之处，结体修长一目了然。欧阳询不在意从横向上进行发展，因此在行距上显得特别疏朗，每字向下舒展时，欧阳询也把字距拉开，使这一纵向发展显得天地开朗。竖画挺拔坚韧，在每一字中起着砥柱作用，使每一字的骨格坚挺起来。把《仲尼梦奠帖》与虞世南的《汝南公主墓志铭》比较，会看得更清楚。虞氏行书以柔和胜，竖画也起支柱作用，但作用并不明显，也不突出，似乎隐于其中；而欧氏行书竖画刚强外耀、强烈可感，那壁立千仞的挺拔，构成了作品的主要基调。观帖中字，虽用秃笔疾书，却转折随意，笔势圆融，用墨淡而有质感，丝毫无油滑之态。 [8]\n\n章法\n《仲尼梦奠帖》是两种书体的结合，即行书入碑，或曰碑体行书。从章法看，《梦奠帖》“宪章右军，抽锋一线，如猿腾鹘落而泯上下相承之迹”（包世臣《艺舟双楫》），而更多靠单字造型调节章法；帖中“彭”由左右结构变换成半包围结构；“导”字繁体下旁本为“寸”，此处不同，换为“木”旁；“冥”字上首用“宀”代“冖”且书写跳荡；“熟”字结构变异，这四字的安排，使《梦奠帖》章法更显紧凑，以部首移位和比例倒错来调整字形结构及通篇章法。且《仲尼梦奠帖》取魏碑为骨格，以行书的笔意来调节，避免了碑体楷书的平板，显得更加密切、多姿多态。碑体的骨格使每一个字气势开张、伟岸，而行书的绵密活泼又连缀其中，形成刚劲而活络，活络而不失骨力。",[7,86,178,622,24,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed9f1b77f3256e056f28a188b756240.jpg","纸本行书","纵25.5cm，横33.6cm",[328],{"id":20417,"slug":20418,"title":20419,"dynasty":54,"author":10092,"museum":311,"description":20420,"tags":20421,"thumbUrl":20422,"material":699,"size":14084,"collection":328,"collections":20423,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":629},221079,"li-qing-lian-xu-zhang-xu-221079","李清莲序","張旭（675-750），唐代書法家，字伯高，與李白、賀知章等人共列飲中八仙之一。唐文宗曾下詔，以李白詩歌、裴旻劍舞、張旭草書為「三絕」。又工詩，與賀知章、張若虛、包融號稱「吳中四士」。傳世書跡有《肚痛帖》、《古詩四帖》等。\n\n張旭初仕為常熟尉，後官至金吾長史，人稱「張長史」。其母陸氏為初唐書家陸柬之的侄女，即虞世南的外孫女。陸氏世代以書傳業，有稱於史。張旭為人灑脫不羈，豁達大度，卓爾不群，才華橫溢，學識淵博。與李白、賀知章相友善，杜甫將他三人列入「飲中八仙」。是一位極有個性的草書大家，因他常喝得大醉，就呼叫狂走，然後落筆成書，甚至以頭髮蘸墨書寫，故又有「張顛」的雅稱。後懷素繼承和發展了其筆法，也以草書得名，並稱「顛張醉素」。",[7,86,2570,25,622,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a58ec93ac0fe20390b6d67708a83e8.jpg",[328,2097],{"id":20425,"slug":20426,"title":20427,"dynasty":18,"author":20428,"museum":7087,"description":20429,"tags":20430,"thumbUrl":20431,"material":20432,"size":20433,"collection":328,"collections":20434,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":139},220619,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220619","宋刻米芾英光堂帖","米芾,岳珂","《英光堂帖》的内容是北宋米芾（1051–1108）的书迹，由抗金名将岳飞的孙子岳珂（1183–1241后）刻于南宋绍定初年（约1229–1233）。米芾是宋代著名书画家，以书法与苏轼（1037–1101）、黄庭坚（1045–1105）、蔡襄（1012–1067）并称「宋四大家」。行草书受二王影响甚深，运笔变化多端，才气奔放，书迹为后世所重视。",[7,86,620,622,178,2570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29dd8584ab752c096648753e8e1f274.jpg","墨拓,纸本,册页","34 × 36 cm",[328],{"id":20436,"slug":20437,"title":20438,"dynasty":949,"author":3807,"museum":3808,"description":20439,"tags":20440,"thumbUrl":20441,"material":139,"size":139,"collection":139,"collections":20442,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":94},220535,"da-shu-shuang-ma-xu-bei-hong-220535","大树双马","泼墨写就古木虬枝，浓淡墨色晕染出繁密冠盖，老干皴擦尽显饱经风霜的沉浑苍劲，带着穿越岁月的雄强生机。\n下方双马情态各异，棕马垂首缓行啮草，筋骨松弛尽显悠然意态，白马昂首长嘶，鬃毛飞扬神骏昂扬，一动一静相映成趣。\n画作融贯中西，以国画写意笔墨铺陈意境，暗合西画的形体结构，将古木的沧桑厚重与骏马的灵动勃发相融，浅淡远景晕染出郊野疏阔，藏着松弛野趣，尽显生命的不同姿态。",[7,23,173,27,150,866,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16779d29c7db2be6f8c5a99604e1dee9.jpg",[],{"id":20444,"slug":20445,"title":20446,"dynasty":76,"author":16965,"museum":1529,"description":20447,"tags":20448,"thumbUrl":20450,"material":123,"size":20451,"collection":90,"collections":20452,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":49},220436,"bai-hua-cheng-rui-tu-li-fang-ying-220436","百花呈瑞图","李方膺的这件作品一反他笔墨豪放，纵逸豪宕的风格，用笔、设色都较工整收敛，清新明快，秀丽雅致。从自题七言中推知此画也许是为长辈所作，所以画面祥和安逸，色调稳重。\n李方膺的作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 诗草》，仅二十六首，多数散见于画上。",[7,23,24,225,27,83,405,369,84,400,4688,20449],"花卉题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472fcd233211bf609eb0bda41e43b4d.jpg","纵162.5厘米，横43.1厘米",[90,45],{"id":20454,"slug":20455,"title":20456,"dynasty":76,"author":7940,"museum":20,"description":20457,"tags":20458,"thumbUrl":20459,"material":409,"size":20460,"collection":163,"collections":20461,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":94},220379,"fang-ju-ran-yan-fu-yuan-xiu-tu-wang-hui-220379","仿巨然烟浮远岫图","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。\n此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。\n《王奉常书画题跋》、《吴越所见书画录》著录。",[7,23,24,225,29,27,177,557,34,37,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[163,181],{"id":20463,"slug":20464,"title":20465,"dynasty":18,"author":746,"museum":206,"description":20466,"tags":20467,"thumbUrl":20468,"material":699,"size":20469,"collection":328,"collections":20470,"showCount":20287,"zanCount":1337,"manualWeight":48,"mainColor":94},220035,"ci-yun-qin-tai-xu-shi-tie-su-shi-220035","次韵秦太虚诗帖","次韵秦太虚诗帖 君不见诗人借车无可载，留得一钱何足赖。晚年更似杜陵翁，右臂虽存耳先聩。人将蚁动作牛斗，我觉风雷真一噫。闻尘扫尽根性空，不须更枕清流派。大朴初散失 浑沌，六凿相攘更胜坏。眼花乱坠酒生风，口业不停诗有债。君知五蕴皆是贼，人生一病今先差。但恐此心终未了，不见不闻还是碍。今君疑我特佯聋，故作嘲诗穷 险怪。须防额痒出三耳，莫放笔端风雨快。",[7,24,86,178,622,263,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca0aba0cbe56551e7fe404ba6ebb228.jpg","45.3*30.7",[328],{"id":20472,"slug":20473,"title":20474,"dynasty":18,"author":418,"museum":206,"description":20475,"tags":20476,"thumbUrl":20477,"material":67,"size":139,"collection":42,"collections":20478,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":94},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[7,209,23,24,81,27,177,29,174,1542,865,176,109,3620,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[42],{"id":20480,"slug":20481,"title":20482,"dynasty":189,"author":278,"museum":206,"description":20483,"tags":20484,"thumbUrl":20485,"material":2916,"size":139,"collection":181,"collections":20486,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":629},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[7,23,1218,105,177,27,2019,176,865,109,35,1265,3710,1365,468,1776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg",[181],{"id":20488,"slug":20489,"title":20490,"dynasty":18,"author":278,"museum":206,"description":20491,"tags":20492,"thumbUrl":20493,"material":409,"size":20494,"collection":181,"collections":20495,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":94},218802,"xi-shan-xian-guan-tu-yi-ming-218802","溪山仙馆图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[7,23,209,173,177,29,107,109,174,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[181],{"id":20497,"slug":20498,"title":6694,"dynasty":18,"author":278,"museum":206,"description":20499,"tags":20500,"thumbUrl":20502,"material":123,"size":20503,"collection":44,"collections":20504,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":49},218719,"luo-han-tu-yi-ming-218719","在花园的一个角落里，一个盘腿的罗什坐在冥想椅上，右手拿着一个花瓶，从花瓶里向天空照出一道红光。椅子前面是一张花台，上面有一盆植物和一个香炉，花台前面是一个人，手里拿着一个宝箱。颜色鲜艳，装饰柔和，笔触精确。罗汉和拜师者衣服上的凤凰和花朵图案，禅椅上的锦垫，花几上的花巾，禅椅上的树和坐垫，甚至拜师者的头发，都刻画得非常细致，可与刘松年的罗汉院画相媲美。",[7,23,24,225,27,28,243,106,18311,1322,298,20501,12911,3609,34,1114],"座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd362133adfb33f41649c7af71c1066fb.jpg","105.5x55.6",[44],{"id":20506,"slug":20507,"title":20508,"dynasty":76,"author":10054,"museum":20,"description":20509,"tags":20510,"thumbUrl":20512,"material":123,"size":20513,"collection":44,"collections":20514,"showCount":20287,"zanCount":2209,"manualWeight":48,"mainColor":94},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[7,23,24,25,28,27,106,407,62,19598,20511,8871,9766,3790,436,86,178,263],"椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[44],{"id":20516,"slug":20517,"title":20518,"dynasty":18,"author":1419,"museum":132,"description":3437,"tags":20519,"thumbUrl":20520,"material":123,"size":3440,"collection":139,"collections":20521,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":94},218046,"song-di-ming-ti-ce-ba-ma-yuan-218046","宋帝命题册(八)",[7,209,23,24,81,173,29,175,226,106,86,178,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805101e3bc8ae183233b61658ad3f5fc.jpg",[],{"id":20523,"slug":20524,"title":20525,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":20526,"thumbUrl":20527,"material":699,"size":1567,"collection":139,"collections":20528,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":49},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10",[7,23,24,81,173,27,29,865,176,106,1542,1265,11241,174,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg",[],{"id":20530,"slug":20531,"title":12647,"dynasty":76,"author":12648,"museum":206,"description":20532,"tags":20533,"thumbUrl":20534,"material":409,"size":20535,"collection":328,"collections":20536,"showCount":20287,"zanCount":48,"manualWeight":48,"mainColor":49},214235,"kai-shu-qi-yan-lian-ceng-guo-quan-214235","此联楷书笔力沉雄，起收顿挫间见骨力，中锋行笔如锥画沙，墨色浓润饱满。字形端稳方正却不失灵动之致，每一字皆如磐石立地，又暗含舒展之态。联句“前席争传宣室贵”“等身唯守鲁堂书”，文气与书风相融，宣室之重与鲁堂之雅在笔墨间流转。上下联布局匀称，落款小字恭谨，与主体大字相得益彰，章法严谨而气韵贯通。观之如临古贤书斋，庄重中透着书卷清韵，笔墨里藏着经世之志与向学之心，尽显大家风范。",[7,76,86,621,7024,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bdeaf2d0e294120d16ea7f43344af9.jpg","162.2x38.6",[328],{"id":20538,"slug":20539,"title":20540,"dynasty":1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唐室开元致太平，年年十月幸华清。\n当时马上多娇态，不相驱驰蜀道行。",[7,23,24,209,25,27,28,106,150,263,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b28078355dcd9084429ae23f044604.jpg",[],{"id":20594,"slug":20595,"title":20596,"dynasty":99,"author":10799,"museum":1666,"description":20597,"tags":20598,"thumbUrl":20599,"material":699,"size":20600,"collection":90,"collections":20601,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":49},222446,"mu-niao-tu-lin-liang-222446","木鸟图","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。\n明初洪武至弘治的百余年内， 占据画坛主位的是皇家画院的宫廷绘画。时代特色和风格成型主要体现在宣德、成化、弘治三朝。尤其是花鸟画， 突破“院体”程式，出现了工笔重彩、水墨写意、设色没骨等多种风格， 并有所创新。其中水墨写意的开派人物便是林良。\n他创作的“文人画化”的水墨写意花鸟画，使明代“院体”花鸟出现了新的生机。虽然在明之前也有水墨写意花鸟，但仍以勾染为主流形式，而且宋“院体”花鸟在元代仍保持着很大的影响力。\n明代的水墨写意花鸟画， 由林良开派， 以后耕耘其间者接踵而至， 如沈周、陈淳、徐渭等， 一步步将写意法推向臻境，并成为明代花鸟画最流行和最富成就的一种形式， 终汇就明清泱泱大观的写意花鸟画风。林良无疑起了先导作用。他在花鸟画的发展史上， 是不可或缺的重要人物。",[7,23,173,400,83,370,926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a952a0aa9c1a5088e4461d5982c15c7.jpg","30.3×31.3",[90,163],{"id":20603,"slug":20604,"title":20605,"dynasty":99,"author":5161,"museum":206,"description":20606,"tags":20607,"thumbUrl":20608,"material":712,"size":20609,"collection":181,"collections":20610,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":49},222414,"hua-zhu-an-chun-zhou-zhou-zhi-mian-222414","花竹鹌鹑轴","绘雨后竹子越发翠绿，紫色的喇叭花缠绕其上，湖石下一对鹌鹑正观景觅食。画顶端有范允临题：雨过竹色明，风恬鸟声乐。睡起北窗凉，斜阳在高阁。周之冕，字服卿，明代画家，擅花鸟，所绘鸟禽栩栩如生。",[7,23,24,225,83,27,28,226,8304,404,512,283,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877ec000da3e80bb4d127ada41a2f4e7.jpg","111.7x29.7",[181,163],{"id":20612,"slug":20613,"title":20614,"dynasty":99,"author":20615,"museum":20,"description":20616,"tags":20617,"thumbUrl":20618,"material":40,"size":20619,"collection":44,"collections":20620,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":94},222082,"sui-chao-jia-zhao-tu-zhu-jian-shen-222082","岁朝佳兆图","朱见深","画幅右上方有明宪宗朱见深御题：“柏柿如意。一脉春回暖气随，风云万里值明时。画图今日来佳兆，如意年年百事宜。”款署：“成化辛丑文华殿御笔”，钤“广运之宝”。\n图中画钟馗，犀利的目光紧盯着飞来的蝙蝠，一手持如意，一手扶在小鬼的肩头；小鬼双手捧着盛有柿子和柏枝的托盘，寓意“百事如意”。\n明代以前，悬挂钟馗像是年节时一项重要的风俗活动，用以驱鬼辟邪，至明清之交此风俗才渐渐移向端午，所以这幅“岁朝佳兆图”可以看作是一幅祈祥祝福的宫廷年画。此图作于成化十七年（1481年），画法老练，衣纹的勾描顿挫有力，人物的造型生动夸张，显示了这位皇帝画家的娴熟技能。",[7,209,23,24,225,27,28,244,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b9fc4e6f55bfb12448810b6d3f9227.jpg","纵59.7厘米，横35.5厘米",[44,45],{"id":20622,"slug":20623,"title":20624,"dynasty":99,"author":1014,"museum":206,"description":20625,"tags":20626,"thumbUrl":20627,"material":40,"size":20628,"collection":181,"collections":20629,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":49},222038,"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[7,23,225,27,29,1365,4778,808,177,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[181,45],{"id":20631,"slug":20632,"title":20633,"dynasty":99,"author":20634,"museum":206,"description":20635,"tags":20636,"thumbUrl":20637,"material":5330,"size":20638,"collection":181,"collections":20639,"showCount":20552,"zanCount":2209,"manualWeight":48,"mainColor":94},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[7,23,24,225,27,177,29,1365,35,466,176,1267,106,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[181,163],{"id":20641,"slug":20642,"title":20643,"dynasty":189,"author":4438,"museum":20,"description":20644,"tags":20645,"thumbUrl":20646,"material":40,"size":20647,"collection":181,"collections":20648,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":94},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[7,23,24,1352,173,27,177,29,106,266,866,1423,176,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[181,45],{"id":20650,"slug":20651,"title":20652,"dynasty":204,"author":13531,"museum":20,"description":20653,"tags":20654,"thumbUrl":20655,"material":699,"size":20656,"collection":328,"collections":20657,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":94},221140,"xia-re-tie-yang-ning-shi-221140","夏热帖","釋文： 首署款：“凝式”。\n後紙有宋代王欽若，元代鮮于樞、趙孟頫，清張照的題跋及乾隆皇帝的釋文。\n卷前後及隔水上鈐有宋代“賢志堂印”，元代趙孟頫，明項元汴，清代曹溶、納蘭成德、清內府等鑑藏印。另有數方古印不辨。\n此帖是楊凝式唯一的傳世草書作品，書法兼取唐顏真卿、柳公權筆法，體勢雄奇險崛，運筆爽利挺拔，與他的楷書、行書作品相比較，藝術風格迥殊，表現出了書家的豐富藝術變化，為楊凝式書法代表作品作之一。此帖為信札，筆勢飛動，渾然一體，凝重之中有瀟灑氣象，雄健縱逸，鋒芒灼耀，極富大氣。米芾贊：“楊凝式如橫風斜雨，落紙雲煙，淋漓快目。”\n此帖曾刻入《三希堂法帖》。明代汪砢玉《珊瑚網書跋》，清代吳其貞《吳氏書畫記》、顧復《平生壯觀》、卞永譽《式古堂書畫匯考》、內府《石 渠寶笈·初篇》等書著錄。",[7,86,2570,25,173,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797a61ea192f0e9b636c25d708827dd0.jpg","纵23.8厘米，横33厘米",[328],{"id":20659,"slug":20660,"title":20661,"dynasty":1483,"author":3526,"museum":20662,"description":20663,"tags":20664,"thumbUrl":20665,"material":20666,"size":20667,"collection":2097,"collections":20668,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":94},221035,"you-mu-tie-wang-xi-zhi-221035","游目帖","日本广岛安达万藏","《遊目帖》又名《蜀都帖》、《彼土帖》、《山川諸奇帖》。草書，11行，102字。信中王羲之表達了他對蜀地山山水水諸多奇景的嚮往之情。他期盼一登汶嶺、峨嵋而暢遊意足，並希望這個日子早日到來。《中國書法全集》評價《遊目帖》“行、草書間雜，筆畫遒勁爽利”。",[7,86,178,622,25,263,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5188c56caf21e01b10a04cacb4376ed.jpg","纸本墨迹","11行，102字",[2097],{"id":20670,"slug":20671,"title":20672,"dynasty":99,"author":2494,"museum":206,"description":20673,"tags":20674,"thumbUrl":20675,"material":20676,"size":20677,"collection":328,"collections":20678,"showCount":20552,"zanCount":2209,"manualWeight":48,"mainColor":49},220901,"wu-yan-gu-shi-zhou-dong-qi-chang-220901","五言古诗轴","董其昌八十岁楷书作品《五言古诗句》",[7,86,178,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8f3e7950a1ba42ac1a4cfdc7f91e01.jpg","楷书，纸本","纸本60.9 x 169 cm",[328],{"id":20680,"slug":20681,"title":20682,"dynasty":189,"author":645,"museum":206,"description":20683,"tags":20684,"thumbUrl":20685,"material":699,"size":20686,"collection":328,"collections":20687,"showCount":20552,"zanCount":2209,"manualWeight":48,"mainColor":94},220826,"shu-yue-yang-lou-ji-zhou-zhao-meng-fu-220826","书岳阳楼记轴","岳阳楼记是北宋文学家范仲淹于庆历六年九月十五日（1046年10月17日）应好友巴陵郡太守滕子京之请为重修岳阳楼而创作的一篇散文。也是历年高考频频眷顾的经典名篇。本文写于1046年，范仲淹贬放河南邓州，1047年滕子京重修岳阳楼，请范仲淹作记，因为二人同是被贬之人，因而有共同的思想情感，所以文中满载述志励友之情，既表现作者忧国忧民的远大抱负，又表达对好友的慰勉和规箴之意。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[7,86,178,225,24,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166c30f08f7da3dbf1b37b1f434a7fa7.jpg","129x53.2",[328],{"id":20689,"slug":20690,"title":20691,"dynasty":76,"author":7940,"museum":101,"description":20692,"tags":20693,"thumbUrl":20694,"material":88,"size":20695,"collection":181,"collections":20696,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":94},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[7,23,24,25,29,27,177,557,37,34,966,31,176,1087,18081,7062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[181],{"id":20698,"slug":20699,"title":8968,"dynasty":18,"author":278,"museum":206,"description":20700,"tags":20701,"thumbUrl":20702,"material":123,"size":20703,"collection":90,"collections":20704,"showCount":20552,"zanCount":2209,"manualWeight":48,"mainColor":49},219181,"ku-mu-zhu-shi-tu-yi-ming-219181","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石头后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的突显，属元代枯木竹石画风。画中草木与院藏赵孟俯〈竹石古木〉表现诸如，此画上虽无款印，但可估计此后一画风的古代例子，学者猜测可能正与赵孟俯关系密切。",[7,23,173,225,451,226,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59e40997092e7d1968961782449871.jpg","107.9x51.1",[90],{"id":20706,"slug":20707,"title":20708,"dynasty":99,"author":20709,"museum":20,"description":20710,"tags":20711,"thumbUrl":20712,"material":409,"size":20713,"collection":328,"collections":20714,"showCount":20552,"zanCount":2209,"manualWeight":48,"mainColor":94},219157,"cao-shu-you-qi-xing-yan-shi-jie-jin-219157","草书· 游七星岩诗","解缙","释文：游七星岩偶成。早饭行春桂水东，野花榕叶露重重。七星岩曲篝镫入，百转萦回路径通。石榴滴余成物象，古潭深处有蛟龙。却归为恐衣沾湿，洞口云生日正中。就日门前春水生，浮波岩下钓船轻。漓江倒影山如画，榕树交柯翠夹城。村店午时鸡乱叫，游人陌上酒初醒。殊方异俗同熙皞，欲进讴谣合颂声。度水穿林访隐君，七星岩畔鹤成群。犹疑仙李遗朱实，几见蟠桃结绛云。石乳悬崖金烂烂，瀑泉隥洞鸟纷纷。柳莺满树春风啭，共坐高吟把酒闻。桂水东边度石桥，酒祈村巷见渔樵。葭祠歌吹迎神女，野庙苹繁祀帝尧。附郭有山皆积石，仙岩无路不通霄。日长衣繍观民俗，行乐光辉荷圣朝。永乐戊子五月十一日，为文弼书廌识。",[7,2570,86,25,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5015742489dad8692560c35bafa41c2d.jpg","纵22.8厘米，横61.2厘米",[328],{"id":20716,"slug":20717,"title":20718,"dynasty":18,"author":2555,"museum":486,"description":20719,"tags":20720,"thumbUrl":20721,"material":123,"size":20722,"collection":139,"collections":20723,"showCount":20552,"zanCount":2209,"manualWeight":48,"mainColor":629},218603,"wu-bai-luo-han-zhi-shou-hu-shu-jin-tu-zhou-ji-chang-218603","五百罗汉之受胡输赆图","画面的上半部分是五个罗汉在云中行走，身后是由松柏树组成的瀑布，而下半部分是一个长鼻黑眼的胡人骑着骆驼，手里拿着一个珊瑚，另一个胡人负责拉着骆驼。风景和人物是用柔和的细线画出来的，使其生动而自然。北周庾信的《哀江南》写道。西边的大厅用浮玉覆盖，南边的大厅用羽毛覆盖。武秦与越阴，荆燕与楚舞。这就是为什么后来经常用 西厅南隅 的说法来指代来自四面八方的贡品的朝拜。这幅图像和面向山姆的竹林图像都是献宝的图像，而且都显示了非汉族人的打扮，如身穿红袍、打扮成金人的骆驼手。",[7,23,24,225,243,27,106,28,385,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a32d2b58935d5585c6c8a74a79b2ef4.jpg","110.5x52.0",[],{"id":20725,"slug":20726,"title":1462,"dynasty":189,"author":20727,"museum":206,"description":20728,"tags":20729,"thumbUrl":20730,"material":409,"size":20731,"collection":181,"collections":20732,"showCount":20552,"zanCount":1337,"manualWeight":48,"mainColor":49},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[7,23,24,225,173,177,29,176,34,109,108,35,466,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[181],{"id":20734,"slug":20735,"title":13895,"dynasty":18,"author":278,"museum":14878,"description":20736,"tags":20737,"thumbUrl":20738,"material":409,"size":20739,"collection":44,"collections":20740,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":94},217001,"jiu-ge-tu-yi-ming-217001","此《九歌图》共九段，分别绘《东君》《河伯》《湘夫人》《大司命》《少司令》《云中君》《湘君》 《山鬼》《国荡》，缺《东皇太一》《礼魂》。",[7,23,24,25,244,173,106,9889,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec00dfbd7a8b8065f4b1da78192376.jpg","33x743",[44],{"id":20742,"slug":20743,"title":20744,"dynasty":76,"author":20745,"museum":311,"description":20746,"tags":20747,"thumbUrl":20748,"material":123,"size":20749,"collection":44,"collections":20750,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":94},214835,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[7,23,24,25,105,27,28,177,106,1365,176,34,263,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[44],{"id":20752,"slug":20753,"title":20754,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":20755,"thumbUrl":20756,"material":699,"size":1567,"collection":139,"collections":20757,"showCount":20552,"zanCount":48,"manualWeight":48,"mainColor":49},214350,"san-jue-shan-shui-ce-12-hua-yan-214350","三绝山水册-12",[7,23,24,81,173,177,29,176,34,770,1241,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d645bd7614b93420bcf09623d61f35a.jpg",[],{"id":20759,"slug":20760,"title":20761,"dynasty":18,"author":1677,"museum":206,"description":20762,"tags":20763,"thumbUrl":20765,"material":327,"size":20766,"collection":139,"collections":20767,"showCount":20768,"zanCount":48,"manualWeight":48,"mainColor":49},289562,"jing-ting-song-feng-tu-ma-lin-289562","静听松风图","图绘迎风高松三株，偃仰盘曲，宛若苍龙。枝干遒劲，山风阵阵，枝叶飘洒，藤条飞舞。一老者屈腿悠然坐于临岸松树下，衣襟微开，姿态随意，似侧耳聆听松涛，神气舒畅，有道骨仙风，一童执扇立于前。此画中树干用浓墨线密皴，用笔密实，细枝用线刚劲又不乏柔挺之意。山石用小斧劈皴，远山以线条勾勒后多用水墨渲染，使画面更为清润。人物衣纹劲利流畅，秀逸柔润。",[7,209,23,24,225,27,177,106,29,1365,176,109,20764,18501],"松风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf04368e056b821d8008c1e1d3ddd623.jpg","226.6x110.3",[],66,{"id":20770,"slug":20771,"title":20772,"dynasty":76,"author":1047,"museum":311,"description":20773,"tags":20774,"thumbUrl":20775,"material":2164,"size":2165,"collection":139,"collections":20776,"showCount":20768,"zanCount":48,"manualWeight":48,"mainColor":94},287970,"song-shu-shuang-lu-tu-zhu-da-287970","松树双鹿图","描绘了一角山崖，崖边上一株古松遒然挺立，崖下一公一母两只梅花鹿亲密相偎。背景中的山崖及苍松画面疏淡，笔墨劲简；山崖上草石与古松以浓墨点画而出，近景处的双鹿则以淡墨着笔。外侧犄角雄健的公鹿于站立中作回首状，而内侧的母鹿墨色更淡，接近画幅底色，以缠绕公鹿的形态与公鹿亲密，情深状貌跃然纸上。松与鹿均表现超然的气质；而以一公一母两鹿如此亲密的形象入画，确是于超然中又见温情，似乎寓意作者既欲超脱又回顾留恋的情愫。",[7,23,209,24,225,173,808,4778,1365,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7008f1ca40741a720f4ee5a8350ea2da.jpg",[],{"id":20778,"slug":20779,"title":20780,"dynasty":99,"author":278,"museum":311,"description":20781,"tags":20782,"thumbUrl":20783,"material":2164,"size":2165,"collection":139,"collections":20784,"showCount":20768,"zanCount":1337,"manualWeight":48,"mainColor":49},287341,"fang-chen-rong-shen-long-jiu-xian-tu-yi-ming-287341","仿陈容神龙九现图","整卷以九龙为芯，龙躯腾挪翻涌于青绿云水间，或隐没于云涛，或怒破水浪，鳞爪遒劲灵动，尽显神威雄奇。古绢带着岁月晕染的斑驳，青绿与墨色交融晕开，将神龙谲变幻化的身姿描摹得栩栩如生。\n\n后附题跋行书笔意跌宕，笔墨苍劲老辣，诗文咏叹龙姿神韵，与画作相得益彰，书画合璧，复刻出沉雄气势。装裱古朴雅致，卷间流转着古雅厚重的气韵，尽显传统龙题材绘画的精妙造诣，兼具视觉张力与文人意趣。",[7,25,23,24,433,105,27,86,2570,2159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d908008b19b2e6f55501a6f863f5f4.jpg",[],{"id":20786,"slug":20787,"title":20788,"dynasty":76,"author":14888,"museum":311,"description":20789,"tags":20790,"thumbUrl":20791,"material":139,"size":139,"collection":181,"collections":20792,"showCount":20768,"zanCount":48,"manualWeight":48,"mainColor":49},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[7,23,25,27,29,177,266,108,109,174,175,176,466,34,60,4778,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[181,45],{"id":20794,"slug":20795,"title":20796,"dynasty":99,"author":20797,"museum":311,"description":20798,"tags":20799,"thumbUrl":20800,"material":139,"size":139,"collection":139,"collections":20801,"showCount":20768,"zanCount":48,"manualWeight":48,"mainColor":94},234206,"feng-zhu-tu-zhou-feng-qi-zhen-234206","风竹图轴","冯起震","冯起震(1553—1644)，字青方，明末画家，青州城北青州市高柳村（今山东益都）人。隐居教书，不图仕进，善画竹。来青州做官的，常慕名到他家拜访。崇祯二年（1629），他与儿子冯可宾合作画了竹石图10幅，著名书画家董其昌、邢侗、李君实为之题记。董等非常称赞他，认为“文与可后数百年所仅见”。著有《无声诗史》、《图绘宝鉴续纂》、《榆园画志》等书。崇祯十五年（1642）年90岁尚在。",[7,23,24,173,25,86,178,263,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bf753c1b5f255b01b17c3148f491394.jpg",[],{"id":20803,"slug":20804,"title":20805,"dynasty":99,"author":2146,"museum":311,"description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14.6公分",[181],{"id":20836,"slug":20837,"title":20838,"dynasty":76,"author":2924,"museum":311,"description":20839,"tags":20840,"thumbUrl":20841,"material":139,"size":139,"collection":139,"collections":20842,"showCount":20768,"zanCount":2209,"manualWeight":48,"mainColor":94},224365,"hua-hui-si-ping-zhi-san-ju-lian-224365","花卉四屏之三","此作工写兼施，绣球花团绵密莹润，以淡粉晕染花心，留白衬出白花皎洁质感，叶片勾勒细致，墨色分阶尽显苍润鲜活。奇崛湖石瘦透灵动，皴擦出嶙峋肌理，石窍映出枝叶倒影，苔藓点染更添古意。数只蛱蝶翅脉纤毫毕现，彩翼翩跹于花间，动静相映，将庭院清景的悠然意趣铺陈开来。设色明秀雅致，笔触细腻鲜活，尽显温婉灵秀的岭南花鸟意韵。",[7,23,24,83,28,27,512,9490,229,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79105dd7b28ebc24bc0563f7f6307bb.jpg",[],{"id":20844,"slug":20845,"title":20846,"dynasty":18,"author":278,"museum":222,"description":20847,"tags":20848,"thumbUrl":20849,"material":40,"size":20850,"collection":139,"collections":20851,"showCount":20768,"zanCount":1337,"manualWeight":48,"mainColor":94},223515,"tao-zhi-qi-que-tu-ye-yi-ming-223515","桃枝栖雀图页","画梅枝瘦劲，枝上疏梅秀蕊，一只雀儿俏立枝头，与清丽的梅花相映成趣。精致的用笔，温润的设色，出栖雀之神韵，画者勾勒出羽毛绒的质感、蓬松感，更是以之营造出在细梅枝上显得庞大和沉重之感。",[7,209,23,24,28,27,83,16569,16900,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449db5fc0ae5e5c7c95ecc9b5c14f169.jpg","34x35",[],{"id":20853,"slug":20854,"title":20855,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":20856,"thumbUrl":20858,"material":27,"size":1608,"collection":139,"collections":20859,"showCount":20768,"zanCount":48,"manualWeight":48,"mainColor":94},222750,"xian-e-chang-chun-tu-06b-lang-shi-ning-222750","仙萼长春图-06b",[7,23,209,24,28,27,226,370,20857,83],"牵牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2072284800f9c10e4b682f3d12b26bf.jpg",[],{"id":20861,"slug":20862,"title":20863,"dynasty":99,"author":170,"museum":206,"description":20864,"tags":20865,"thumbUrl":20866,"material":20867,"size":20868,"collection":45,"collections":20869,"showCount":20768,"zanCount":2209,"manualWeight":48,"mainColor":94},222122,"qiu-jing-shan-shui-tu-shen-zhou-222122","秋景山水图","高冈突起，茅亭翼然。红叶树一株，与茅亭回护而有致。其左连林数树，茂密修长，黝然苍润。冈之右，一山高耸露山脚，其中围墙半露，竹影翳然。门前宾主对揖，似临歧作别者。全幅笔墨劲挺秀练，用色鲜明澹雅。款署己酉八月，六十三岁作。著录：故宫书画录卷八。收传印记：香垣审定、听颿楼藏、集虚斋。",[7,23,209,24,1352,27,177,29,175,384,176,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d84463f0eb70c2a4e32848900fbb953.jpg","泥金纸本设色","19.7×57.3cm",[45],{"id":20871,"slug":20872,"title":20873,"dynasty":99,"author":817,"museum":206,"description":20874,"tags":20875,"thumbUrl":20876,"material":67,"size":20877,"collection":181,"collections":20878,"showCount":20768,"zanCount":1104,"manualWeight":48,"mainColor":94},221996,"hu-xi-cao-tang-hua-xin-wen-zheng-ming-221996","浒溪草堂画芯","作品是作者六十六岁时所作。描绘的是吴邑沉天民的浒溪草堂，既反映了草堂主人淡泊明志，不追逐名利的品格，又对映了主人热情好客的秉性，同时也折射出了作者本人的好恶。\n《浒溪草堂图》原藏沉天民家中，明末遗失。沉天民曾孙沈培风少时曾在朋友姚子文家见到此画，想要购回，却终究没好意思开口，一直是心头的一块心病，念念不忘。二十年后的一天，得知姚子文已于一年前的冬天患病不治而逝的讯息后，沈培风立即前往浙江的姚宅，欲觅得此画，可惜宅内已空无一物。有道是功夫不负有心人，不久有人将画送上门来。经过二十年世事沧桑，百变流转，培风又遇此画，便下定决心说什么也不能让机会从自己身边再次溜走。于是，几乎倾其所有，重金购得，并请工匠重新装裱后珍藏起来。此举显示出培风与其曾祖一样不忘本，具有难得的孝心。当年天民虽生活在城市，但仍不忘先祖的桑梓生活而在城市中修建草堂，取名为浒溪，才得以有画作《浒溪草堂图》留传至今，让后人一睹名家画作的风采。\n此画画法秀润，意境清幽，构图严谨，笔法细腻，设色明快。画面上描绘的是高木浓荫，掩映草堂，群山环抱，清波蜒曲，帆樯林立，榭阁屋宇错落。近处草堂敞轩，二高士案前对坐，正在高谈阔论；远山以石青晕染，近山则石青加赭石微抹，树干纯以赭石钩染，枝叶以石绿加石青点染，背光处加渴墨，显得更加郁郁葱葱。在艺术表现手法上，用笔细腻严谨，山石仅用渴笔微抹，以点苔显出明暗，经营位置，得写生之助化出清幽境界。",[7,23,29,734,282,384,3631,36,1755,27,7062,400,25,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb9da20bb028a48cc761920595df3e9.jpg","166 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王凝 ， (公元11世纪)〔北宋〕江南人，生卒年不详。画院待诏，为熙宁(1068-1077)前画院高手，工画花竹、翎毛，《宣和画谱》称：“下笔有法，颇得生意。又工为鹦鹉及狮、猫等，非山林草野之所能，不唯责形象之似，亦兼取其富贵态度，自是一格，苟不能焉，终不到也。”重视写生，观察入微，用笔工整，设色绚丽，神态逼肖，形神兼备，笔力精劲，具有宋代院体画特点，作品流传甚少。《宣和画谱》著录御府藏其《绣墩狮猫图》一幅。传世作品有《子母鸡图》册页，纸本，设色，纵42.2厘米，横32.3厘米，描绘一只母鸡携群雏作啄饲状之情景，以形写神，构思巧妙，藏露倚侧，曲尽其妙，笔墨简练，韵格清新，耐人寻味。画面钤有元代顾德辉“金粟道人”、明代“侯懋功印”、清代“宣统御览之宝”和“锡山谈氏珍藏”等收藏印5枚。此图原为清宫旧藏，是故宫《集古图集》册页之一帧，《石渠宝笈初编》著录，现藏台北故宫博物院。",[7,209,23,24,83,28,27,20924,19375],"母鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c311c2ad6d882cfc576c77d301c9e91.jpg","纵42.2厘米，横32.3厘米",[90,45],{"id":20929,"slug":20930,"title":20931,"dynasty":204,"author":278,"museum":20932,"description":20933,"tags":20934,"thumbUrl":20935,"material":538,"size":20936,"collection":139,"collections":20937,"showCount":20768,"zanCount":48,"manualWeight":48,"mainColor":255},221157,"wen-xian-ci-sheng-si-bi-hua-yi-ming-221157","温县慈胜寺壁画","赛德勒博物馆","慈胜寺壁画现在分藏于欧美7家著名的博物馆、美术馆中，以面积和品质论，公推纳尔逊博物馆上世纪50年代初购买受赠的3幅藏品最佳，包括后周广顺年间（951～954年）所绘的立姿供养菩萨图和坐姿观音菩萨图，以及自后周作品下方揭出更具唐代风韵的后晋立姿持莲菩萨图。",[7,538,243,106,27,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278c3a97376a47c03dfe2aa4a15874e1.jpg","59x45厘米",[],{"id":20939,"slug":20940,"title":7475,"dynasty":54,"author":7476,"museum":101,"description":7477,"tags":20941,"thumbUrl":20942,"material":7480,"size":7481,"collection":328,"collections":20943,"showCount":20768,"zanCount":1337,"manualWeight":48,"mainColor":94},221070,"ling-fei-jing-chang-juan-zhong-shao-jing-221070",[7,86,621,5152,622,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d3387434404715e6043148aa6f6079.jpg",[328,2097],{"id":20945,"slug":20946,"title":20947,"dynasty":189,"author":1539,"museum":206,"description":20948,"tags":20949,"thumbUrl":20950,"material":712,"size":20951,"collection":181,"collections":20952,"showCount":20768,"zanCount":48,"manualWeight":48,"mainColor":94},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 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ize":2165,"collection":139,"collections":21102,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":94},287697,"zhu-shi-tu-li-zhou-zheng-ban-qiao-287697","竹石图立轴",[7,23,24,225,173,226,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee951fb43edbf2640337c30ed4137ea.jpg",[],{"id":21104,"slug":21105,"title":21106,"dynasty":277,"author":13773,"museum":311,"description":13774,"tags":21107,"thumbUrl":21111,"material":2164,"size":2165,"collection":139,"collections":21112,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":49},230657,"yao-shen-xiang-xi-zang-tang-ka-230657","药神像",[7,243,65,27,106,8726,150,1554,17116,21108,21109,21110,28],"法轮","纹饰","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028ee73993c9fc718ee7851c324b4215.jpg",[],{"id":21114,"slug":21115,"title":19444,"dynasty":18,"author":278,"museum":311,"description":21116,"tags":21117,"thumbUrl":21118,"material":139,"size":139,"collection":139,"collections":21119,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":49},227884,"shui-xian-tu-yi-ming-227884","此作笔意清逸秀雅，以淡墨晕写叶片，线条修长舒展，尽显水仙叶姿柔韧清健，似凝着晨间清露。花朵以浅色素染，轻勾瓣边却不刻意雕琢，晕出莹润娇柔的质感，素洁花容与挺秀叶片相互映衬，寥寥数笔便将水仙冰肌玉骨的神韵尽数铺陈。\n画面留白简澹空灵，不着多余笔墨，悄然烘托出水仙孤高脱俗的品性，尽显内敛雅致的审美意趣，如幽谷清芳，静静吐露幽微暗香，淡远清寂的意境扑面而来。",[7,23,24,83,28,27,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e7c47f9155125fbea51258414c067d.jpg",[],{"id":21121,"slug":21122,"title":21123,"dynasty":18,"author":21124,"museum":311,"description":21125,"tags":21126,"thumbUrl":21127,"material":139,"size":139,"collection":139,"collections":21128,"showCount":21080,"zanCount":48,"manualWeight":48,"mainColor":49},227296,"gui-xiu-shi-ping-tu-zhou-sheng-shi-yan-227296","闺秀诗评图轴","盛师颜","古时大家闺秀“大门不出，二门不迈”，待在家里的时间长，因此也有闲暇读诗书。一来可以打发时光，二来可以排解幽思。\n\n在这幅画中，一名女子端坐在案几之上，手持一本诗文书卷，神态娴静，正在专心致志地读书。",[7,1004,23,24,225,28,27,59,5153,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333452de9ecd696360b84a95fb6751a.jpg",[],{"id":21130,"slug":21131,"title":21132,"dynasty":8433,"author":278,"museum":21133,"description":21134,"tags":21135,"thumbUrl":21137,"material":621,"size":139,"collection":2097,"collections":21138,"showCount":21080,"zanCount":48,"manualWeight":48,"mainColor":94},226534,"shi-ping-gong-zao-xiang-ji-yi-ming-226534","始平公造像记","洛阳龙门石窟古阳洞","《始平公造像記》，全稱《比丘慧成為亡父洛州刺史始平公造像題記》，是由孟達撰文，朱義章書寫的龍門石窟造像題記之一，石刻位於洛陽市南郊龍門石窟古陽洞北壁，刊刻於北魏太和二十二年（498年，另有太和十二年、二年、十九年等數種説法）。書體為楷書。為“龍門四品”和“龍門二十品”之一。\n《始平公造像記》記錄了比丘慧成為亡夫造佛像的緣由及願望，石刻正文分縱向10行，每行20字，有方界格，石高75釐米，寬39釐米，額楷書陽文“始平公像一區”2行6字。文與格欄均陽刻凸起，是石刻中所少見的。此石刻已泯盡隸書痕跡，既有漢晉雍容方正之態，又具北方少數民族“金戈鐵馬”粗獷強悍之神，書法雄重遒密，端莊流逸，具龍震虎威之勢，富有陽剛之美。\n用笔\n1．锋鋭果敢，整峻大方\n点的形状多呈几何图形状，以类似三角形的为多。如图中“流”字的侧点，“容”字的竖点、“宗”字的撇点和“答”字的挑点，它们在形态上都类似于三角形，但又不失饱满，起笔多侧锋入纸，露锋短促有力，向右下重顿后逆锋收笔，慢慢弹出，用笔锋鋭果敢，在点画上显得整峻大方。\n2．逆锋行笔，笔含隶意\n用笔以方切为主，在线条运行过程中以逆锋行笔。如图中“大”“寻”“不”字横的写法，起笔时侧锋入纸，向右下重顿，依靠毛笔与纸的摩擦力向右上调锋，然后逆锋行笔，顿笔后回锋。而“丘”字最后的横则为雁尾横，前半段和横的写法一样，只是到收笔时，雁尾横则像隶书的波磔一样向右上，含而不出，再往回收尾，笔含隶意，古朴典雅。\n3．浑厚沉实，亦露亦藏\n用笔方峻，和其他碑帖一样都是无垂不缩，无往不收。但它和唐代楷书在笔法上的不同之处在于线条中段沉实浑厚，以斜鋭之势收笔。如图中“师”“攀”“率”字的竖以藏锋为主，收笔时逆锋向回收笔；“下”字的竖则露锋起笔，收笔时向右下轻顿再出锋。\n4．笔势圆浑，流畅不滞\n在外形上看似有些凝重呆滞，但在点画细节处，《始平公造像记》却通过点画方向的变化和某些连带的点画表现出流畅不滞的书写性。如图中“夫”字的撇向上回环以呼应捺的起笔“玳”字的撇向右上回环以顺承竖的起笔。再如图“大”“运”两字的捺，沉稳劲健，点画浑圆，“一波三折”的用笔特点在其中十分明显，甚至有些装饰性的意味。\n5．用笔准确，骨力内含\n用笔的准确性主要体现在点画的起收笔处，特别是写钩的时候。如图中“代”字的斜钩，起笔如竖线，向右下斜切，其势向下倾斜，行笔厚重有力，至收笔处驻笔，笔锋聚拢，腕指齐力，翻毫向上，靠毛笔所蓄之力将笔锋送出。“则”“寻”“容”字钩的写法也是如此。此外，对骨力的感受则不仅仅停留在方笔的运用上。如图中“国”“恩”“月”“愿”字的转折，虽大多是方折，很少有圆转，这应与刻工有很大关系。\n结体\n1．结构扁方，朴拙飞动\n全文结字以方扁为主，这是隶书向楷书过渡时期的必然结果。横线以舒展为主，竖线则多短粗有力，如图中“始”字本应是方形的，但由于作者巧妙的安排，“女”字旁点画厚重而倾斜，有挤压“台”部之势，而“台”中的“口”正好安置在“女”字旁右下角的空间里，使全字呈扁方形，有向右上飞动之势。又如“公”字，左上方的点以圆笔见浑穆，右上方的点方硬有形，形成一种飞动之态，呼应对比和谐，而下半部分则呈现出一种压缩之态，有向左运动之势，与上半部分呼应顾盼，自然朴拙。“灵”字的处理方式也是如此。\n2．结构欹侧，变化丰富\n除了扁方结体，《始平公造像记》单字结体也有纵长体势的。如图中“焉”字，一般来说应该是方形或是偏扁一些的，而《始平公造像记》则将其变方为长，横线排叠，趋势右上，点画密结，密不透风，最后四点化为一横，大胆开张，反辅为主，起到了承载的作用。也正是因为横线紧密排叠，所以整个字也就由方形变为长方形，造就出了欹侧之势。又如“崇”字，习惯写法是中间的宝盖头要包裹下面的部分，可《始平公造像记》里的“崇”字则是宝盖头紧缩，而下面“示”的第二横伸展夸张，使原本方形的字变成了长方形。再如“奄”字，撇写得开张，而却以捺作点，收缩紧凑，出人意料。\n3．抑左扬右，收放有度\n在结构上习惯压缩左边的部分而舒展右边。如图中“逢”字，上半部分的右面向外舒展，“走”字底的左半部分则向中间压缩，这样整个字就呈现出一种倾斜过来的梯形结构，向右呈辐射状。另外，《始平公造像记》中单个字的结构收放对比也比较大，这是因为结字时中宫往往收得比较紧凑，而一些突出的主笔舒展开来正好与这种紧凑产生了强烈的对比。如“答”字，上半部分收得比较紧凑，而下半部分的撇和捺非常舒展。整个字上下之间的收放对比较大，呈梯形结构，有稳重感。\n章法\n全文皆用阳刻，逐字界格，在整个刻石系统中甚为少见。《始平公造像记》的章法，一个总的特点是横竖成行，端正整齐。如其碑额“始平公像一区”六字，这六字虽然横竖成行，但它们之间的间距很近，大小交错，相互伸展，搭配十分巧妙。如“像”字笔画多，但写得小；“一”字只有一笔，反而写得大。“始”字的一撇与“像”字的一捺搭配，“平”字的一横与“一”字的搭配，“平”字的一竖与“公”的搭配，都妙若天成。再如阳文镌刻的正文。界格横竖交错的线条并不是笔直的，而是有粗有细，有弯有直。界格内的字与字之间的笔画配合也有伸缩。因此，界格根据格内字的结构变化而进行变化，构成了浑然一体的章法。",[7,21136,621,620,243,86],"魏碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63291057f9d37c1c9c08d87ade89090b.jpg",[2097],{"id":21140,"slug":21141,"title":21142,"dynasty":18,"author":278,"museum":101,"description":21143,"tags":21144,"thumbUrl":21145,"material":67,"size":21146,"collection":139,"collections":21147,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":629},223493,"ming-huang-xing-shu-tu-zhou-yi-ming-223493","明皇幸蜀图轴","此画绘安史之乱之后，唐玄宗李隆基离开长安逃往巴蜀避难的故事。一群人仓促慌乱而逃，此时杨贵妃已经被唐玄宗赐死于马嵬坡，而画面中无人骑行的白马，应该就是杨贵妃死前的坐骑。",[7,23,27,29,106,225,177,150,176,34,1422,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9c78e8345ce04c7530887632de2f2.jpg","33x45",[],{"id":21149,"slug":21150,"title":745,"dynasty":76,"author":21151,"museum":311,"description":21152,"tags":21153,"thumbUrl":21154,"material":1271,"size":139,"collection":139,"collections":21155,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":94},223279,"mo-zhu-tu-liu-shao-ye-223279","刘绍邺","图绘竹子一株，杆三枝，一杆粗壮，二杆修长，竹叶茂盛苍翠。技法上，竹节处以深墨勾勒，凸显竹节的修长；竹深淡墨绘制，更有层次感。",[7,23,24,225,173,226,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316c1218e8b1a967840a981f4c923a3d.jpg",[],{"id":21157,"slug":21158,"title":21159,"dynasty":76,"author":336,"museum":206,"description":21160,"tags":21161,"thumbUrl":21163,"material":40,"size":21164,"collection":90,"collections":21165,"showCount":21080,"zanCount":48,"manualWeight":48,"mainColor":94},222722,"shi-jun-quan-tu-zhi-ba-shan-xing-lang-lang-shi-ning-222722","十骏犬图之八睒星狼","睒星狼为宫廷名犬之一，为科尔沁四等台吉丹达里逊进献。绘睒星狼位于画面中央偏下位置，其身后则以配景形式绘有高大的树木和低矮的花草，色泽鲜丽，清晰细致。",[7,23,24,209,28,27,808,21162,264,34,386,263],"名犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776979946ef2bb6e343e1385068093ab.jpg","246.6x163.8",[90,45],{"id":21167,"slug":21168,"title":21169,"dynasty":76,"author":10288,"museum":20,"description":21170,"tags":21171,"thumbUrl":21172,"material":1488,"size":21173,"collection":181,"collections":21174,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":94},222666,"yu-xi-shan-gen-tu-zhou-kun-can-222666","雨洗山根图轴","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[7,23,24,225,173,177,29,34,35,174,109,176,1267,866,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03932682651547307896f5d9c08b293b.jpg","纵103厘米，横59.9厘米",[181,163],{"id":21176,"slug":21177,"title":21178,"dynasty":99,"author":21179,"museum":20,"description":21180,"tags":21181,"thumbUrl":21184,"material":40,"size":21185,"collection":90,"collections":21186,"showCount":21080,"zanCount":48,"manualWeight":48,"mainColor":49},222456,"liu-qin-bai-xian-li-zhou-wang-zhao-222456","柳禽白鹇立轴","汪肇","《柳禽白鹇图》绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。",[7,209,23,24,225,83,27,28,21182,266,12221,21183,12197,264,109,13851],"工写结合","白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9797ae11c53f7557aad5da268f564.jpg","纵190，横103",[90,45],{"id":21188,"slug":21189,"title":21190,"dynasty":99,"author":100,"museum":21191,"description":21192,"tags":21193,"thumbUrl":21194,"material":21195,"size":21196,"collection":139,"collections":21197,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":94},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[7,23,24,25,244,28,106,59,63,4420,1115,1116,4421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],{"id":21199,"slug":21200,"title":21201,"dynasty":99,"author":817,"museum":56,"description":21202,"tags":21203,"thumbUrl":21204,"material":527,"size":21205,"collection":181,"collections":21206,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":49},221981,"shan-zhuang-ke-zhi-tu-wen-zheng-ming-221981","山庄客至图","描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。整幅作品以S型构图，山石皴然兼施，多有抬点，笔致气魄洋溢。是典型的文人画作，淡于仕进，优游林下，以诗文书画自娱，表现自己的品格情怀。此画描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。",[7,23,107,29,734,282,384,3631,27,225,400,699,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677782faafd32968920256e48cddfb04.jpg","纵87.5厘米，横27.3厘米",[181,45],{"id":21208,"slug":21209,"title":21210,"dynasty":189,"author":21211,"museum":20,"description":21212,"tags":21213,"thumbUrl":21214,"material":699,"size":21215,"collection":328,"collections":21216,"showCount":21080,"zanCount":1337,"manualWeight":48,"mainColor":49},221844,"zhuan-shu-lou-shi-ming-juan-tai-bu-hua-221844","篆书陋室铭卷","泰不华","释文：\n山不在高，有仙则名；水不在深，有龙则灵。斯是陋室，唯吾德馨。苔痕上階绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”至正六年正月廿八日白野兼善书。\n鉴藏印有“安岐之印”、“朝鲜人”、“佩裳宝藏”、“木头老子”等。前后隔水各有清罗天池题记一则，记录其重金购买此卷之事及对此卷的评价。\n此卷是泰不华书唐代著名诗人刘禹锡所作《陋室铭》全篇。\n从落款可知此卷书于元至正六年（1346年），是年泰不华43岁。其书兼善篆、隶、楷。篆法初师宋徐铉，后取法汉碑额，高古可尚，行笔圆活遒劲，转折方正，结构疏朗工稳，末笔多作尖锋，即“悬针”笔法。此为迄今所见泰不华唯一的篆书真迹。作为一个少数民族文人，能写如此齐整秀逸的汉字古体实属难能可贵。\n此卷曾刻入《海山仙馆帖》。",[7,1163,86,25,263,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aead25aafad0b776e8c3ac69e1dc0e8.jpg","纵36.9厘米，横113.5厘米",[328],{"id":21218,"slug":21219,"title":21220,"dynasty":189,"author":19012,"museum":20,"description":21221,"tags":21222,"thumbUrl":21223,"material":2465,"size":21224,"collection":181,"collections":21225,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":49},221820,"yue-yang-lou-tu-xia-yong-221820","岳阳楼图","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何著笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。 其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[7,23,104,1352,244,27,107,29,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","纵24.4厘米，横26.2厘米",[181,163],{"id":21227,"slug":21228,"title":21229,"dynasty":189,"author":13201,"museum":20,"description":21230,"tags":21231,"thumbUrl":21232,"material":699,"size":21233,"collection":163,"collections":21234,"showCount":21080,"zanCount":1337,"manualWeight":48,"mainColor":94},221698,"xin-huang-tu-zhou-gu-an-221698","新篁图轴","作品内容多描写风竹的新篁。运笔遒劲，法度严谨，墨色浓润而匀净，表现风竹的偃仰扶疏、或是新篁的挺健嫩秀，结构取势都恰到好处，具有生动之致，行笔谨严，遒劲挺秀，用墨润泽焕烂，画湖石带勾带染，得皱透之姿，在李衍、柯九思外，自有一股萧疏清逸之气，成为一格。",[7,23,209,225,173,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b21a4dee0286730581dec54763556ab.jpg","91cm,33.1cm",[163,1896],{"id":21236,"slug":21237,"title":21238,"dynasty":189,"author":6413,"museum":206,"description":21239,"tags":21240,"thumbUrl":21241,"material":13665,"size":21242,"collection":181,"collections":21243,"showCount":21080,"zanCount":48,"manualWeight":48,"mainColor":49},221690,"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭（1248－1310），号房山。其先回鹘人，占籍大同，后居武林。字彦敬，号房山老人，仕至刑部尚书。画山水，学米氏父子，造诣精绝。后学董源、李成、巨然笔法，专取写意气韵，亦擅长墨竹。高克恭画盛名盖世，而流传作品不多。此幅画溪边小景，云影满山，用笔含蓄凝练，用墨温婉蕴藉，突出宁静的氛围。",[7,23,225,173,27,177,29,734,2279,384,1365,109,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","125.1 x 99.7cm.",[181,163],{"id":21245,"slug":21246,"title":21247,"dynasty":18,"author":5270,"museum":20,"description":21248,"tags":21249,"thumbUrl":21250,"material":160,"size":21251,"collection":42,"collections":21252,"showCount":21080,"zanCount":1337,"manualWeight":48,"mainColor":49},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[7,209,23,24,25,244,173,27,29,106,174,866,285,109,266,229,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","25.9*143cm",[42,181,45],{"id":21254,"slug":21255,"title":21256,"dynasty":18,"author":1419,"museum":311,"description":21257,"tags":21258,"thumbUrl":21259,"material":699,"size":21260,"collection":42,"collections":21261,"showCount":21080,"zanCount":48,"manualWeight":48,"mainColor":49},221540,"gao-shi-guan-tiao-tu-ma-yuan-221540","高士観眺图","本作是马远“边角山水”之代表作，他以简练的笔法和精致的诗画意境成功表现了山间景色，笔法劲爽，意境深邃。作品构图精巧，位置经营独到而臻极致。树木、远山集中绘于画幅左侧，以淡墨皴染的山径渐次虚淡。近处的高士持杖远眺，人物衣纹或是兰叶描、或是钉头鼠尾描，线条劲直，或如刀砍竹，或行笔略有颤掣，人物本身怡然惬意的神情已经跃然纸上。画幅右侧大量留白，虚渺空灵。另有一只白鹤转头回望，与高士相响应，款款深情，意蕴无穷，给观者以无穷遐想",[7,23,24,29,175,106,173,27,177,229,866,21054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4306c43ca294d4cdac872ca054890ff8.jpg","82x67",[42,181,163],{"id":21263,"slug":21264,"title":21265,"dynasty":54,"author":7595,"museum":56,"description":21266,"tags":21267,"thumbUrl":21268,"material":5011,"size":21269,"collection":328,"collections":21270,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":94},221098,"lun-shu-tie-huai-su-221098","论书帖","帖前有宋徽宗赵佶金书签题《唐僧怀素行书论书帖》，帖后有乾隆皇帝行书释文，赵孟頫、项元汴等人题跋。 卷中钤有“宣和”、“政和”、“绍兴”、“秋壑图书”、“内府图书之印”、“项子京家珍藏”、“旷奄”、“乾隆”、“嘉庆”、“宣统御鉴之宝”等鉴藏印。\n从艺术风格上看，《论书帖》不同于怀素其他如《自叙帖》、《食鱼帖》等用“古瘦”和“半无墨”的毛笔创作的笔意连绵不绝、体势险绝诡奇、极度夸张浪漫的狂草之作，笔下明显洋溢出东晋王羲之恬淡平和的风神气息。此帖运笔悠然自得，意气平和，应规入矩，精谨而纯熟。其每作一字，起落分明，虽无纵横捭阖之势，但由于擅长驾驭中锋，故能做到笔势圆融婉转、飞动轻灵，骨气深稳，血肉丰润。虽偶作牵连映带，但亦无拖沓之嫌。笔墨流宕处，英姿勃发，气象超然。其结构以平正恒定基调，疏密聚散之间，显露出“端庄杂流丽，刚健寓婀娜”的风致。",[7,86,2570,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bad6ec436069c8a3cd2ef405945887a.jpg","纵38.5厘米，横40.5厘米",[328,2097],{"id":21272,"slug":21273,"title":21274,"dynasty":18,"author":21275,"museum":21276,"description":21277,"tags":21278,"thumbUrl":21280,"material":699,"size":139,"collection":42,"collections":21281,"showCount":21080,"zanCount":48,"manualWeight":48,"mainColor":94},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","玉涧","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[7,209,23,24,173,177,29,174,86,557,14577,21279,1647],"远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[42],{"id":21283,"slug":21284,"title":21285,"dynasty":18,"author":278,"museum":21286,"description":21287,"tags":21288,"thumbUrl":21289,"material":123,"size":139,"collection":42,"collections":21290,"showCount":21080,"zanCount":48,"manualWeight":48,"mainColor":629},220255,"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[7,23,209,1218,225,173,27,177,28,29,1365,176,37,106,1112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[42],{"id":21292,"slug":21293,"title":21294,"dynasty":99,"author":21295,"museum":21296,"description":21297,"tags":21298,"thumbUrl":21299,"material":123,"size":21300,"collection":181,"collections":21301,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":49},219979,"qiu-shan-du-shu-tu-zhao-zuo-219979","秋山读书图","赵左","武汉博物馆","此作用高远、平远构图铺展秋山胜景，山峦层叠浑厚，以淡墨皴擦间杂赭石晕染，晕开秋山苍润暖意。近林木虬枝疏朗，丹黄点染秋叶，萧疏秋意扑面而来。水岸蜿蜒错落，村居隐于林泉之间，淡笔轻勾出幽居闲致。\n\n笔墨秀雅温润，以淡远之韵绘就山居清寂，将文人寄情林泉、幽居耕读的雅逸心境融于尺幅之间。淡墨轻岚间藏着静穆萧散的诗意，观之便如踏入秋山，似能聆山涧潺湲、沐林间清风，尽显文人山水抒情之妙。",[7,23,225,29,27,177,34,176,4970,5535,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d715d2c069e6ab53794d5fc6647f892.jpg","49x97cm",[181],{"id":21303,"slug":21304,"title":21305,"dynasty":99,"author":15579,"museum":20,"description":21306,"tags":21307,"thumbUrl":21308,"material":409,"size":21309,"collection":163,"collections":21310,"showCount":21080,"zanCount":2209,"manualWeight":48,"mainColor":94},219209,"ce-zhang-xun-you-tu-xie-shi-chen-219209","策杖寻幽图","图中山峰巍峨耸立，中间一条溪流将画面大体分为左右两段。山谷溪流上的桥面暗示两山间公路畅通，画左林木掩映下一文士拄杖沿山路走来，点明“寻幽”主题。谢时臣的部分作品皆自题是仿元王蒙笔法而作，如南京博物院藏正德十二年（1517年）《仿王蒙山水图》、故宫藏嘉靖二十九年（1550年）《溪亭逸思图》和上海博物馆藏《江山胜览图》等。表明王蒙在谢时臣画风的产生过程中有着重要的含义。该图是谢时臣60岁时所作（嘉靖二十五年，1546年），在山石结构、笔墨皴法上还可以看见王蒙的影子，但与王蒙典型的精细密集的牛毛皴相比，图中山石皴法粗短松动，则显著是得到了沈周的影响导致。该画整体感强，皴法晕染能较好地渗入到山石整体的构架之中，构图细腻，笔墨苍润，体现出画家融合前人笔墨创造自己风格的尽力。",[7,23,173,225,29,177,108,109,866,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e92a7653f3aa0d79eeb78387794f54.jpg","纵84.9厘米，横31.3厘米",[163],{"id":21312,"slug":21313,"title":21314,"dynasty":18,"author":21315,"museum":21316,"description":21317,"tags":21318,"thumbUrl":21321,"material":123,"size":21322,"collection":44,"collections":21323,"showCount":21080,"zanCount":1104,"manualWeight":48,"mainColor":49},219027,"shi-wang-tu-ce-lu-xin-zhong-219027","十王图册","陆信忠","奈良国立博物馆","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[7,243,28,27,106,107,21319,63,228,21320],"鬼神","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d532ab5c900a8a678b7aae912853ec.jpg","85.9x50.8",[44],{"id":21325,"slug":21326,"title":21327,"dynasty":18,"author":1419,"museum":6182,"description":21328,"tags":21329,"thumbUrl":21330,"material":123,"size":21331,"collection":181,"collections":21332,"showCount":21080,"zanCount":48,"manualWeight":48,"mainColor":94},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[7,23,24,209,1352,173,27,177,29,108,106,866,176,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[181],{"id":21334,"slug":21335,"title":21336,"dynasty":18,"author":1419,"museum":206,"description":1851,"tags":21337,"thumbUrl":21338,"material":123,"size":1854,"collection":139,"collections":21339,"showCount":21080,"zanCount":1337,"manualWeight":48,"mainColor":94},218576,"hua-niao-shan-shui-xiao-pin-ce-pu-tao-ma-yuan-218576","花鸟山水小品册-葡萄",[7,209,23,24,81,27,28,2569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花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[7,23,25,173,1218,177,557,12689,174,1087,1365,37,15011,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17ed61dd6a5972ee7a6aea3bd1ee1f2.jpg","该幅26.8x1115.3公分；隔水一 11.3公分；引首 26.8x75.7公分；隔水二 13.7公分；隔水三 11.3公分；拖尾 26.9x241公分",[],{"id":21416,"slug":21417,"title":21418,"dynasty":99,"author":278,"museum":311,"description":21419,"tags":21420,"thumbUrl":21422,"material":139,"size":139,"collection":139,"collections":21423,"showCount":21405,"zanCount":2209,"manualWeight":48,"mainColor":49},232907,"fang-huang-quan-hua-niao-chong-die-yi-ming-232907","仿黄荃花鸟虫蝶","冬夜闻虫\n【唐】白居易\n虫声冬思苦于秋，不解愁人闻亦愁。\n我是老翁听不畏，少年莫听白君头\n冬天虫鸣，比秋天更让人发愁，即便不懂愁绪的人听了也会感到忧愁。我已经是个老人了，听了也没什么关系，年轻人就不要听了，那会让你愁白头的。",[7,939,23,24,25,28,27,105,83,21421,226,386,512,229,263,86,178],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff995cf8766f0528a866e2854e3963bca.jpg",[],{"id":21425,"slug":21426,"title":21427,"dynasty":76,"author":21428,"museum":311,"description":21429,"tags":21430,"thumbUrl":21432,"material":139,"size":139,"collection":90,"collections":21433,"showCount":21405,"zanCount":2209,"manualWeight":48,"mainColor":94},224204,"yu-tang-fu-gui-tu-zhou-hu-mei-224204","玉堂富贵图轴","胡湄","古木虬曲苍劲，玉兰繁花堆雪，层层缀满枝头，似将春日清光尽数揽入花间。两只禽鸟栖于嶙峋湖石，锦羽斑斓灵动，姿态悠然亲昵。下方牡丹雍容盛放，丹红粉白交错晕染，与玉兰素洁相映成趣。\n\n整作工笔细腻，设色妍秀雅致，禽鸟毛羽纤毫毕现，花木俯仰含情，将写实工致与雅致意趣相融。疏密排布恰到好处，把富贵吉祥的意蕴藏在明秀春景之中，尽显传统花鸟画的典雅富丽之美。",[7,23,3567,225,28,27,5174,371,369,3722,1628,4121,21431],"富贵吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f895f651e90b420b94c2a3720b29703.jpg",[90],{"id":21435,"slug":21436,"title":21437,"dynasty":76,"author":278,"museum":311,"description":21438,"tags":21439,"thumbUrl":21440,"material":139,"size":139,"collection":139,"collections":21441,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":49},223491,"ming-wang-tang-ka-yi-ming-223491","明王（唐卡）","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。 唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。 唐卡是藏族文化中一种独具特色的绘画艺术形式。",[7,315,243,106,27,28,65,2279,17116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc45b75d2d19f4d7bac59bc0e28e8dbc.jpg",[],{"id":21443,"slug":21444,"title":21445,"dynasty":99,"author":14621,"museum":206,"description":21446,"tags":21447,"thumbUrl":21448,"material":88,"size":21449,"collection":90,"collections":21450,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":94},222420,"san-yang-kai-tai-zhu-zhan-ji-222420","三羊开泰","画幅正中绘着三只羊。以羊寓阳，以太同泰，寓意“三羊开泰”。依据八卦，正月为泰卦，一阳生于下，冬去春来，阴消阳长，万物复苏，所以，它是祥瑞的象征。三只羊集于一起一白二黑，衬以古木竹石。:羊开泰取意吉祥。三羊的形象皆从写生中来，前者一只小羊，正在低首食草，弯弓着背，短尾微粗，除两腿和头顶处呈白色，其余儿乎全为黑驹黝绒密的黑毛，后面一只小羊，正在低首缓步前行，双目下视，似作觅食之状，四条腿的下肢和头顶部分呈白色，其余为黑黝黝的绒毛。两乳羊柔顺之态，宛然如生。一只大羊略作俯瞰侧面，两角竖立向外伸展，呈倒“八字”，角尖如尖刀似的，身躯圆滚，毛长腿粗，头部、双耳、背部等处为黑色，及长长的黑色的颈毛，双日炯炯有神，传达出了生动的姿态和准确的头、颈、身躯关系。",[7,23,24,225,27,28,6545,384,226,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373b5a7d9c34426c6e0ebc149bc2c324.jpg","纵211.6厘米,横142.5厘米",[90,45],{"id":21452,"slug":21453,"title":21454,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":21456,"thumbUrl":21457,"material":712,"size":21458,"collection":328,"collections":21459,"showCount":21405,"zanCount":1337,"manualWeight":48,"mainColor":94},222247,"nan-hua-zhen-jing-wang-chong-222247","南华真经","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[7,86,5152,25,621,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8deb6432f583ee8a984338a7c0a3cdfa.jpg","每开尺寸长19.1、宽12.5厘米",[328],{"id":21461,"slug":21462,"title":21463,"dynasty":99,"author":16949,"museum":56,"description":21464,"tags":21465,"thumbUrl":21466,"material":9374,"size":21467,"collection":163,"collections":21468,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":255},222229,"song-feng-gao-shi-tu-wen-bo-ren-222229","松风高士图","该作品是明代画家文伯仁晚年的力作。该作品画中山峦高峻，危崖峭壁之间，山径曲折，飞瀑直下，注入山前的清溪中。苍松翠柏隔岸呼应，遮掩草堂。高士曳杖而立，神态安闲。作品用笔清秀爽利，墨色淡雅苍润。文伯仁在画中的题跋小楷十分工整，自谓仿赵孟頫，实则仅师其大意。其画更多取法元代王蒙及文徵明风格。\n该画作把近处的坡石先以淡墨勾勒，再以干墨或浓墨点苔，分出坡石的脉络。画家在水口处横抹几笔，既显画面空灵，又让人感觉水波轻漾。夹岸的松、柏先双勾树干，再以劲利的短线写松针，以密圈作柏叶，枝柯交错，如虬龙劲舞。茅屋被丛树掩映，有“结庐在人境，而无车马喧”之感。远处群山取自文氏画法。画家先以细密皴法定基调，再以淡墨勾勒山骨，然后用干笔作解索皴、牛毛皴，看似随意点染，却让山体层次分明、凹凸有致。千岩万壑、崇山峻岭、山径盘旋、涧水曲折，苍莽之气毕现于纸上。由于画家用笔多变，又着意经营，所以画面既浑厚华滋，又开阔旷达，毫无促迫感。画家在松树下的桥头处设主、仆两人，有画龙点睛之功，正如文徵明诗中所云：“万叠高山供道眼，千寻飞瀑净尘心。”寄情山林、不求闻达的高士，让这幅山水画有了更深远的韵味。",[7,23,173,177,225,29,403,5728,108,109,176,34,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9139afd4faa992b004cff6b1ffd56da6.jpg","98.7cm×27.6cm",[163,45],{"id":21470,"slug":21471,"title":21472,"dynasty":99,"author":21473,"museum":206,"description":21474,"tags":21475,"thumbUrl":21476,"material":527,"size":21477,"collection":90,"collections":21478,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":94},222064,"jian-qiu-luo-ji-lin-da-222064","剪秋罗鸡","林达","此图为《明林达花卉翎毛册》中的一页。林达（年代不详），字志道，号愧吾，福建莆田人。俊子。正德九年（1514）进士，历官南京吏部考功郎中。",[7,209,23,24,939,27,28,83,19375,84,229,18872,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ad09435dd181cbb24bac44d2945b7b.jpg","29.7×40.4cm",[90,45],{"id":21480,"slug":21481,"title":21482,"dynasty":189,"author":2996,"museum":583,"description":21483,"tags":21484,"thumbUrl":21486,"material":67,"size":21487,"collection":163,"collections":21488,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":49},221815,"shuang-gou-zhu-tu-zhou-li-kan-221815","双钩竹图轴","这是一幅在绢本上以墨笔双钩而后晕染设色的翠竹。画幅内能较完整看见一杆成竹和两颗箬笋，右边若隐若现有一些小枝和箨叶，结合画面构图看，右边略显紧张局促，料想可能是被裁过。古书画年代久远、传递收藏复杂，或因破旧重装，或因商贾牟利，裁剪、分割是常有之事。即便如此，本幅设色双钩竹的艺术水准仍然是展现无遗的。其拔节舒枝、解箨抽梢蒸蒸然有摇曳升腾之势；浓淡向背、避让交叠萧萧乎真美人君子之姿。",[7,23,24,225,21485,226,2403],"双钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f81dae935198e9a11627f9cfbaf2bae.jpg","75.5×29.5cm",[163,1896],{"id":21490,"slug":21491,"title":21492,"dynasty":18,"author":10082,"museum":206,"description":21493,"tags":21494,"thumbUrl":21495,"material":67,"size":21496,"collection":42,"collections":21497,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":255},221378,"ying-shan-tu-juan-wang-shen-221378","赢山图卷","《宋王诜赢山图》用勾勒青绿填染画山，古朴清雅，元代钱选小青绿山水即似此画风，卷末山石上有小楷题识，云：“保宁赐第王晋卿赢山既觉，因图梦中所见，甲辰春正月梦游者。",[7,23,24,25,29,27,177,557,34,35,31,174,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60b9eb105d6a170d78f0e0696507e39.jpg","纵24.5厘米、横145.1厘米",[42,44,45],{"id":21499,"slug":21500,"title":21501,"dynasty":5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当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[7,209,23,24,243,104,27,106,176,37,114,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[44],{"id":21576,"slug":21577,"title":6694,"dynasty":76,"author":1473,"museum":447,"description":21578,"tags":21579,"thumbUrl":21580,"material":409,"size":21581,"collection":44,"collections":21582,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":94},218382,"luo-han-tu-jin-nong-218382","这是一幅长须罗汉坐在棕榈树下，神态安详的画，他已经获得了大罗汉的果位。这幅画是金农人物画的代表作。",[7,23,24,225,243,244,173,106,384,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75ebb87baf372dcdb84c225c1bba02a.jpg","69.1x25.5",[44],{"id":21584,"slug":21585,"title":21586,"dynasty":54,"author":21587,"museum":20,"description":21588,"tags":21589,"thumbUrl":21590,"material":123,"size":21591,"collection":44,"collections":21592,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":49},218143,"liu-zun-zhe-xiang-tu-ce-lu-leng-qie-218143","六尊者像图册","卢楞伽","卢楞伽（生卒年不详），长安（今西安）人。学画于吴道子，喜作经文变相一类绘画，唐玄宗驻跸四川期间由汴入蜀，声名益著。乾元（758-760年）初于大圣慈寺画行道僧，颜真卿为之题名，号称“二绝”。",[7,23,24,81,27,28,243,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc5667212353981bcfb16635801cb73.jpg","30x58",[44],{"id":21594,"slug":21595,"title":21596,"dynasty":18,"author":1419,"museum":132,"description":3437,"tags":21597,"thumbUrl":21598,"material":123,"size":3440,"collection":139,"collections":21599,"showCount":21405,"zanCount":2209,"manualWeight":48,"mainColor":94},218066,"song-di-ming-ti-ce-san-ma-yuan-218066","宋帝命题册(三)",[7,23,24,81,173,177,86,178,263,29,1365,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c1925505197c148c13f3497d28a207.jpg",[],{"id":21601,"slug":21602,"title":21603,"dynasty":18,"author":1419,"museum":132,"description":3437,"tags":21604,"thumbUrl":21605,"material":123,"size":3440,"collection":139,"collections":21606,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":94},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)",[7,23,24,81,27,1218,734,107,34,37,1265,114,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg",[],{"id":21608,"slug":21609,"title":21610,"dynasty":99,"author":3869,"museum":206,"description":21611,"tags":21612,"thumbUrl":21614,"material":123,"size":21615,"collection":90,"collections":21616,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":49},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","这幅画的布局集中在右下角，占据了图片的绝大部分。从画的右侧中间伸展出几根稀疏的芦苇，有的直上，有的向左，芦苇叶大多下垂;在图片下方，有几根芦苇栖息在堤岸上，其中一根在月亮的脖子上叽叽喳喳，另外两根芦苇回头看。屏幕左侧是平静清澈的海水，是芦苇漂浮的天堂。在图片上方是满月，空旷时，明亮的月光投射在地球上。\n画中的芦苇写得很好，外表生动。芦苇是用厚厚的光和光不同颜色的层叠叠而成的，非常细腻，不仅形状像神萧，而且羽毛的光泽也显现出来。芦苇和木槿的叶茎，淡墨，刷掉。视觉要以浅色演色性，看不到笔痕，使领域广阔而深远;用马原画湖石，夏贵墨钩法，加换，坚固简单;这幅画异常真实，自然而壮观。这幅画，和路易姬的其他花鸟画一样，极大地丰富了花鸟画和笔墨的表达。",[7,209,23,28,27,83,924,3899,84,285,4064,21613],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","纵177.2厘米，横107.3厘米",[90],{"id":21618,"slug":21619,"title":21620,"dynasty":189,"author":1539,"museum":206,"description":2819,"tags":21621,"thumbUrl":21622,"material":409,"size":139,"collection":139,"collections":21623,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":94},216595,"mo-zhu-pu-ce-ye-3-wu-zhen-216595","墨竹谱册页-3",[7,23,24,173,81,86,263,226,2694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50b05cf34ed2b1620b65ae7ad0712f3.jpg",[],{"id":21625,"slug":21626,"title":21627,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":21628,"thumbUrl":21629,"material":699,"size":1567,"collection":139,"collections":21630,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":49},214347,"san-jue-shan-shui-ce-13-hua-yan-214347","三绝山水册-13",[7,23,24,173,177,81,29,229,34,37,1365,4272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04188718fcb81c7be51f07fefa49c1.jpg",[],{"id":21632,"slug":21633,"title":21634,"dynasty":76,"author":21635,"museum":206,"description":21636,"tags":21637,"thumbUrl":21638,"material":409,"size":21639,"collection":328,"collections":21640,"showCount":21405,"zanCount":2209,"manualWeight":48,"mainColor":49},214247,"li-shu-zhou-zheng-fu-214247","隶书轴","郑簠","此隶书作取法汉碑精髓，笔致灵动洒脱，蚕头燕尾意趣天成，横波跌宕间藏古雅风骨。字形扁方舒展，如汉阙卧云，沉稳中透着逸气。墨色浓淡相宜，枯润相生，规整处见变化，显匠心独运。左款小字与主体隶书相映成趣，章法疏朗有致，整体气象浑朴，既有汉隶的厚重雄浑，又含文人书家的清逸韵致，堪称清初隶书复兴浪潮中的精品，尽显传统书法之美。",[7,24,86,5405,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0e8b381e54abed129e99db901c6df3.jpg","181.5x120.3",[328],{"id":21642,"slug":21643,"title":21644,"dynasty":76,"author":21645,"museum":206,"description":21646,"tags":21647,"thumbUrl":21648,"material":409,"size":21649,"collection":328,"collections":21650,"showCount":21405,"zanCount":48,"manualWeight":48,"mainColor":94},214244,"li-shu-liu-yan-lian-l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- 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[7,23,25,27,177,29,176,34,31,466,1087,111,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[181,45],{"id":21671,"slug":21672,"title":21673,"dynasty":277,"author":278,"museum":311,"description":21674,"tags":21675,"thumbUrl":21676,"material":2164,"size":2165,"collection":139,"collections":21677,"showCount":93,"zanCount":2209,"manualWeight":48,"mainColor":94},231610,"fu-hua-bai-miao-shi-er-tian-tu-xiang-di-shi-tian-zhen-hai-ben-dong-jing-yi-ming-231610","佛画 白描十二天图像 帝释天(珍海本-东京)","此作为白描佛画，以纯墨线塑就神祇形象。作者以游丝描勾勒衣袂褶皱，婉转舒展如流云拂过，尽显织物飘逸柔润；刻画宝冠璎珞时则换为挺劲铁线描，凝练勾勒出庄严华贵的气度。\n帝释天面容慈悲沉静，眉眼间自带悲悯沉静的神性。两侧题字斑驳古拙，为画作晕染出厚重的岁月质感。整作极简笔墨中兼具宗教造像的肃穆威仪，尽显中古佛画的典雅法度，笔墨之间藏着东方宗教美术的内敛禅意，是一件极具韵味的宗教绘事佳品。",[7,23,24,243,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f79510cd2eea3790c69a98476d0571.jpg",[],{"id":21679,"slug":21680,"title":21681,"dynasty":99,"author":3908,"museum":311,"description":21682,"tags":21683,"thumbUrl":21684,"material":139,"size":139,"collection":139,"collections":21685,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},228465,"kong-que-mei-hua-tu-zhou-lu-zhi-228465","孔雀梅花图轴","虬曲老梅横斜错落，红白两色梅花次第绽放在柔枝之上，冷艳娇柔间衬出古木苍劲朴拙。两只孔雀栖于枝头，一仰一顾，翠色绒羽晕染细腻，眼状翎斑层叠分明，华贵翎羽舒展下垂，姿态悠然又灵动传神，尽显瑞禽雍容气度。\n\n画作兼工带写，以工笔精绘孔雀肌理，写意铺陈梅枝古态，冷暖色调交融和谐，将春日生机与祥瑞意趣藏于笔墨之间，暗合咏颂长寿的美好寄寓，是兼具雅致文心与吉祥意涵的精妙之作。",[7,23,24,225,28,27,83,297,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e3d407997aaad3691b913985c7aa58.jpg",[],{"id":21687,"slug":21688,"title":21689,"dynasty":18,"author":418,"museum":311,"description":21690,"tags":21691,"thumbUrl":21693,"material":139,"size":139,"collection":139,"collections":21694,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[7,23,24,225,27,28,106,403,226,210,263,1112,21692,3790,63,385],"琴桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],{"id":21696,"slug":21697,"title":21698,"dynasty":76,"author":21699,"museum":311,"description":21700,"tags":21701,"thumbUrl":21702,"material":139,"size":139,"collection":139,"collections":21703,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},226639,"shan-shui-shan-mian-pu-ru-226639","山水扇面","溥儒","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[7,23,1352,29,27,1365,106,176,109,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1194f3f821239671a24fdd604c5306ed.jpg",[],{"id":21705,"slug":21706,"title":21707,"dynasty":18,"author":2028,"museum":311,"description":21708,"tags":21709,"thumbUrl":21710,"material":139,"size":139,"collection":139,"collections":21711,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":629},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[7,209,23,24,225,173,177,29,174,109,175,266,34,106,1265,1617,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],{"id":21713,"slug":21714,"title":21715,"dynasty":76,"author":278,"museum":311,"description":21716,"tags":21717,"thumbUrl":21718,"material":139,"size":139,"collection":139,"collections":21719,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},224109,"kang-xi-yong-zheng-qian-long-jia-qing-dao-guang-yu-bi-wu-fu-tu-yi-ming-224109","康熙、雍正、乾隆、嘉庆、道光御笔五福图","五幅御笔福字各擅风神：康熙之福雍容浑朴，自带庙堂端稳气象；雍正笔力爽利刚劲，法度谨严见骨力；乾隆书体圆润舒展，尽显盛世舒展意态；嘉庆落笔秀雅内敛，静穆端方；道光笔触朴拙厚重，自带沉凝质感。\n\n每字上方钤朱红帝王宝玺，小字题识附于其下，呼应御笔身份。米黄地子衬缠枝暗纹，朱印墨字相映成趣，将五朝帝王的书法意趣，与传统五福祥瑞之意相融，兼具书法审美价值与吉祥文化内涵。",[7,315,86,24,178,263,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa5f2a0a8689aba2be7855d85362368a.jpg",[],{"id":21721,"slug":21722,"title":15272,"dynasty":18,"author":278,"museum":311,"description":21723,"tags":21724,"thumbUrl":21725,"material":2164,"size":2165,"collection":139,"collections":21726,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},223663,"e-mi-tuo-fo-tu-yi-ming-223663","阿弥陀佛（梵语Amitābha），又名无量佛、无量光佛、无量寿佛等。大乘经载，阿弥陀佛在过去久远劫时曾立大愿，建立西方净土，广渡无边众生，成就无量庄严功德，为大乘佛教所广为崇敬和弘扬。大乘佛经主要如《无量寿经》、《阿弥陀经》、《观无量寿佛经》，对阿弥陀佛及其西方极乐世界均有详述。大乘佛教流传之地，如中国、日本等大乘教区，阿弥陀佛信仰也尤为繁盛和重要。而汉传佛教的净土宗，则完全以往生阿弥陀佛的西方净土作为专修的法门。",[7,1004,23,24,225,243,106,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe74592da1391b22d35470a1a2831b583.jpg",[],{"id":21728,"slug":21729,"title":21730,"dynasty":18,"author":278,"museum":311,"description":21731,"tags":21732,"thumbUrl":21734,"material":139,"size":139,"collection":139,"collections":21735,"showCount":93,"zanCount":2209,"manualWeight":48,"mainColor":49},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[7,209,23,24,225,28,27,227,136,137,924,21733],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],{"id":21737,"slug":21738,"title":21739,"dynasty":18,"author":278,"museum":206,"description":5764,"tags":21740,"thumbUrl":21744,"material":67,"size":5770,"collection":139,"collections":21745,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":629},223471,"xi-mao-tu-yi-ming-223471","戏猫图",[7,23,209,27,28,807,808,83,228,369,84,300,21741,115,1114,5767,737,21742,21743],"宠物","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg",[],{"id":21747,"slug":21748,"title":21749,"dynasty":76,"author":12204,"museum":206,"description":21750,"tags":21751,"thumbUrl":21752,"material":699,"size":21753,"collection":44,"collections":21754,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[7,23,24,25,27,28,106,150,34,176,105,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[44,45],{"id":21756,"slug":21757,"title":21758,"dynasty":76,"author":336,"museum":206,"description":10745,"tags":21759,"thumbUrl":21760,"material":573,"size":10749,"collection":181,"collections":21761,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":255},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[7,209,23,28,27,104,29,107,106,115,176,34,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[181,45],{"id":21763,"slug":21764,"title":21765,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":21766,"thumbUrl":21767,"material":27,"size":1608,"collection":139,"collections":21768,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},222746,"xian-e-chang-chun-tu-04b-lang-shi-ning-222746","仙萼长春图-04b",[7,23,209,24,81,28,27,8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简秀润，韩昴在《图绘宝鉴续纂》中说他：“画从黄子久（即黄公望），入门而醒悟。”中年自立门庭，上窥晋、唐、两宋，遍摹元代诸家笔法，集取优长,由此入门，始能各极变化。不但取法郭熙、李唐及马、夏，而且对二米、云山也精心研究过。对黄公望的画悉心尤力。当代前辈沈周的画也热心师效。加之漫游南北涉猎既广，眼界自宽，故落笔纵横奇古，风格秀润。他的画风是从多方面变代出来的。晚年作品渐趋苍劲疏宕。画风又有多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。晚年他的笔法益苍劲，颇类沈周。他兼工人物、花鸟、兰竹、俱得古人三昧。他虽力追古法，但能融会贯通，自成风范，对以后的明末清初绘画影响很大。",[7,23,27,104,29,107,174,865,176,109,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186dde280fbc8429c16567c2833ffe8a.jpg","绫本","27×38",[181,45],{"id":21787,"slug":21788,"title":21789,"dynasty":99,"author":862,"museum":583,"description":21790,"tags":21791,"thumbUrl":21792,"material":527,"size":21793,"collection":181,"collections":21794,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[7,23,24,225,27,29,403,384,107,109,466,176,1267,175,606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","160x55cm",[181,163],{"id":21796,"slug":21797,"title":21798,"dynasty":99,"author":2242,"museum":260,"description":4480,"tags":21799,"thumbUrl":21800,"material":527,"size":4484,"collection":139,"collections":21801,"showCount":93,"zanCount":2209,"manualWeight":48,"mainColor":94},222569,"hua-hui-tu-8-chen-chun-222569","花卉图8",[7,23,24,209,400,173,27,83,84,759,693,928,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911c35cd24a96007a25681937880c5d3.jpg",[],{"id":21803,"slug":21804,"title":21805,"dynasty":99,"author":21806,"museum":206,"description":21807,"tags":21808,"thumbUrl":21809,"material":712,"size":139,"collection":181,"collections":21810,"showCount":93,"zanCount":1337,"manualWeight":48,"mainColor":49},222430,"dong-li-qiu-se-tu-li-xiang-222430","东篱秋色图","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[7,209,23,24,29,173,177,176,34,1087,109,466,35,1265,10431,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[181,163],{"id":21812,"slug":21813,"title":21814,"dynasty":99,"author":100,"museum":20,"description":1762,"tags":21815,"thumbUrl":21817,"material":40,"size":1766,"collection":139,"collections":21818,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},222188,"ren-wu-gu-shi-tu-zi-lu-wen-jin-chou-ying-222188","人物故事图-子路问津",[7,23,81,14059,27,106,29,34,176,6868,7216,21816,15996,1112],"子路问津","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3113aa636a1969d1889567021aaf7551.jpg",[],{"id":21820,"slug":21821,"title":21822,"dynasty":99,"author":170,"museum":101,"description":21823,"tags":21824,"thumbUrl":21825,"material":3812,"size":21826,"collection":139,"collections":21827,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","此卷绘各色花卉，用笔不斤斤于形似，得花之天趣，开以后白阳，青藤花卉大写意之法门。沈周出身诗书门第，幼受严训，师承大家，饱览祖传的书画名迹，又周游名山大川，这些优厚条件，对他一生的创作，有莫大的裨益和帮助。沈周画的梅、兰、菊、竹传统文人画题，变化多样，运用彩色没骨画法，创出新颖的文人花鸟画。对后期的花卉画家影响深远。\n沈周（1427-1509），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沉贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。与文征明、唐寅、仇英并称「明四家」，是吴门画派的创始人。他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。",[7,23,24,25,27,28,83,402,406,407,369,404,264,405,691,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","27.5 X504.8厘米",[],{"id":21829,"slug":21830,"title":3243,"dynasty":99,"author":1014,"museum":206,"description":21831,"tags":21832,"thumbUrl":21833,"material":712,"size":21834,"collection":181,"collections":21835,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},222029,"shan-shui-zhou-dai-jin-222029","此画从构图看全幅构图取近景形式，自下而上，呈上、中、下三段层次。上端即远山迷漾，峰峦环抱，群山侧于画面的左上角，山上和山腰杂木丛生。山下即中景为宽阔水面，汪洋一片，把远景与近景遥遥相隔，河水中无渔舟停泊，亦无水阁临溪，显得十分幽静。近景为此画的主体部分。坡石连绵，坡石高矮不一，其问有几株盘根虬曲的树木，树下山上有数间楼阁，楼阁围有 栏杆，一位长者端坐在楼阁内，正在观赏美丽的山水景致。\n款署，“景泰壬申春三月钱塘戴文进写。”",[7,23,225,29,27,177,175,109,174,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4043ef01c707ccd4702333f8460033.jpg","纵139．0厘米，横79．8厘米",[181,163],{"id":21837,"slug":21838,"title":21839,"dynasty":18,"author":21840,"museum":677,"description":21841,"tags":21842,"thumbUrl":21843,"material":67,"size":21844,"collection":42,"collections":21845,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[7,23,209,24,25,173,177,29,557,34,1365,37,108,109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[42],{"id":21847,"slug":21848,"title":21849,"dynasty":18,"author":21850,"museum":101,"description":21851,"tags":21852,"thumbUrl":21853,"material":40,"size":21854,"collection":42,"collections":21855,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},221316,"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[7,209,23,24,81,28,27,29,402,226,109,466,266,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[42,90,45],{"id":21857,"slug":21858,"title":21859,"dynasty":18,"author":553,"museum":206,"description":21860,"tags":21861,"thumbUrl":21863,"material":123,"size":21864,"collection":42,"collections":21865,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":629},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[7,23,209,24,225,173,27,177,29,2019,34,176,36,111,1087,21862],"流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[42,181,163],{"id":21867,"slug":21868,"title":21869,"dynasty":76,"author":21870,"museum":206,"description":21871,"tags":21872,"thumbUrl":21873,"material":699,"size":139,"collection":328,"collections":21874,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},221009,"shu-hua-ce-ye-wu-hu-fan-221009","《书画册页》","吴湖帆","此作为鉴藏题签，以颜楷立骨，行书辅意。主文笔墨沉厚雄健，结体宽博开张，笔势遒劲苍浑；侧款灵动疏朗，与主文虚实相生，错落有致。浓墨配古雅笺纸，朱印鲜亮点睛，书、纸、印三者相得益彰。题字既点明藏品之珍绝，亦寄寓藏家矜惜之意，将鉴藏风雅融于笔墨之间，尽显鉴藏大家的笔墨风骨与文雅襟怀，是一件兼具鉴藏价值与书法审美意趣的文人小品。",[7,86,178,263,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956aee8c8c5e1ea4324478f47a3f7008.jpg",[328],{"id":21876,"slug":21877,"title":21878,"dynasty":99,"author":2494,"museum":583,"description":21879,"tags":21880,"thumbUrl":21881,"material":527,"size":139,"collection":181,"collections":21882,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},220960,"fang-shu-yao-feng-tu-dong-qi-chang-220960","芳树遥峰图","绘河两岸景色，远处山峰高耸，最高峰中部留白，山顶半悬，实乃绝妙之笔；近处河岸上树木林立，叶已枯槁，杆直修长，与河对岸的山峰遥遥相望。画项端题诗一首：桂树及冬荣，瑶草待春发。惟闻鸾鹤声，寥寥上烟月。",[7,23,24,225,173,177,29,30,558,31,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25884801024ed867821988d30206d287.jpg",[181,163],{"id":21884,"slug":21885,"title":21886,"dynasty":189,"author":645,"museum":78,"description":21887,"tags":21888,"thumbUrl":21889,"material":699,"size":21890,"collection":328,"collections":21891,"showCount":93,"zanCount":2209,"manualWeight":48,"mainColor":94},220851,"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[7,24,86,178,25,263,2547,4472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纵达四十七点五厘米,横三百五十六厘米",[328],{"id":21893,"slug":21894,"title":21895,"dynasty":949,"author":1940,"museum":3946,"description":21896,"tags":21897,"thumbUrl":21898,"material":139,"size":139,"collection":139,"collections":21899,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},220490,"fan-zhou-xin-an-jiang-zhang-da-qian-220490","泛舟新安江","以高远危崖呼应平阔水汀，淡赭晕开朝暮霞光，江雾轻笼天地。枯笔勾出崖石筋骨，焦墨点簇顶间林木，苍劲里暗含秀雅疏朗。水色留白晕染浅青，浅滩枯木枝桠清瘦，间缀浅红秋意，冷寂中晕开暖意。\n\n扁舟横斜汀渚，舟上人影简淡，尽显江湖散人的从容闲逸。整幅画笔简意足，将江乡清灵旷远融于淡墨轻色之间，淡而弥永，尽显萧散简远的文人林下风流。",[7,23,27,177,225,29,174,34,176,31,37,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30913e83fe79ae7e565b04344eaf69a.jpg",[],{"id":21901,"slug":21902,"title":21903,"dynasty":76,"author":16577,"museum":20,"description":21904,"tags":21905,"thumbUrl":21906,"material":409,"size":21907,"collection":181,"collections":21908,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},220115,"liu-cun-qiu-si-tu-wu-li-220115","柳村秋思图","此图是吴历晚年的代表作之一，为其好友民誉（姓金，名造士）所藏。图中重点描绘了近景的柳树。其柳叶以中锋落笔点染，表现出秋风中柳叶含烟带露的柔美，又通过水墨的浓淡层次变化显现出柳叶交叠错落的自然风貌，体现了吴历工细写实的画风特点。",[7,23,173,29,225,177,2607,384,266,106,150,119,734,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12ddaee3bf0639e8563322f28ebc8fb.jpg","纵67.7厘米，横26.5厘米",[181,163],{"id":21910,"slug":21911,"title":21912,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":21913,"thumbUrl":21914,"material":88,"size":1533,"collection":139,"collections":21915,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},220010,"dong-zhuang-tu-ce-zhi-nan-gang-shen-zhou-220010","东庄图册之南港",[7,23,173,81,29,177,34,109,174,8925,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bc3277507cd2055dd3e64f96a29d1e.jpg",[],{"id":21917,"slug":21918,"title":21919,"dynasty":99,"author":21920,"museum":206,"description":21921,"tags":21922,"thumbUrl":21923,"material":123,"size":21924,"collection":44,"collections":21925,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[7,23,24,25,27,28,106,34,108,109,176,403,226,84,175,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[44,45],{"id":21927,"slug":21928,"title":21929,"dynasty":99,"author":278,"museum":447,"description":21930,"tags":21931,"thumbUrl":21932,"material":88,"size":139,"collection":44,"collections":21933,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},219523,"shuang-xian-ren-tu-yi-ming-219523","双仙人图","画面里两位仙人意态悠然，一位素衣宽袍，神情沉静垂手而立；另一位以叶为裳，虬髯浓密，正持笔轻触好友长须，亲昵随性，尽显知己投契的自在。\n\n线条清劲如铁线，衣纹舒展自然，叶裳晕染细致鲜活，浅淡古雅的设色衬出超凡仙逸。留白开阔空灵，将世外之人的澹泊闲情，知己同游的融融意态铺陈开来，笔底藏着山林隐者的逍遥，古意悠悠，静雅动人。",[7,23,24,225,28,244,27,106,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc7edf6d9652291b3fbe4295465e07a.jpg",[44],{"id":21935,"slug":21936,"title":21937,"dynasty":99,"author":1362,"museum":447,"description":21938,"tags":21939,"thumbUrl":21940,"material":123,"size":21941,"collection":90,"collections":21942,"showCount":93,"zanCount":1337,"manualWeight":48,"mainColor":49},219028,"qun-lu-tu-wen-zheng-ming-219028","群鹿图","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[7,23,27,28,177,29,4778,808,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[90],{"id":21944,"slug":21945,"title":999,"dynasty":18,"author":278,"museum":311,"description":21946,"tags":21947,"thumbUrl":21948,"material":123,"size":21949,"collection":42,"collections":21950,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[7,209,23,24,1352,173,27,151,866,229,109,263,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[42],{"id":21952,"slug":21953,"title":21954,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":21955,"thumbUrl":21956,"material":2164,"size":2165,"collection":139,"collections":21957,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":94},290080,"hong-hua-tu-li-zhou-wu-chang-shuo-290080","红花图立轴",[7,23,225,27,173,83,1059,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188cc8526e0cecaabcb51988541cb2c9.jpg",[],62,{"id":21960,"slug":21961,"title":21962,"dynasty":204,"author":21963,"museum":311,"description":21964,"tags":21965,"thumbUrl":21966,"material":2164,"size":2165,"collection":139,"collections":21967,"showCount":21958,"zanCount":2209,"manualWeight":48,"mainColor":49},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[7,209,23,25,27,1218,2789,174,1542,865,3899,2019,867,106,19108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],{"id":21969,"slug":21970,"title":21971,"dynasty":76,"author":1473,"museum":311,"description":21972,"tags":21973,"thumbUrl":21974,"material":2164,"size":2165,"collection":139,"collections":21975,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":49},288390,"mei-hua-tu-lian-li-zhou-jin-nong-288390","梅花图联立轴","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[7,23,225,83,402,173,27,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a90a4baed7675ccdbb4e7b13fa224e.jpg",[],{"id":21977,"slug":21978,"title":21979,"dynasty":76,"author":10288,"museum":20,"description":21980,"tags":21981,"thumbUrl":21982,"material":21983,"size":21984,"collection":181,"collections":21985,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":94},234264,"wu-wai-tian-yuan-tu-ce-kun-can-234264","物外田园图册","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[7,23,173,81,177,86,29,866,229,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651a5a2e1ca54204c673178db5637fc.jpg","纸本 ，墨笔","纵21.5cm，横16.9cm",[181],{"id":21987,"slug":21988,"title":21989,"dynasty":99,"author":170,"museum":20,"description":21990,"tags":21991,"thumbUrl":21992,"material":1271,"size":139,"collection":139,"collections":21993,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":94},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[7,23,24,25,173,27,177,86,178,1163,29,176,34,468,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":21995,"slug":21996,"title":21997,"dynasty":18,"author":418,"museum":21998,"description":21999,"tags":22000,"thumbUrl":22001,"material":9888,"size":22002,"collection":139,"collections":22003,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":629},232616,"shen-xiao-yu-qing-wan-shou-gong-zhao-zhao-ji-232616","神霄玉清万寿宫诏","海南省海口市五公祠","《神霄玉清万寿宫诏》碑是宋徽宗赵佶于宣和元年（1119年）用瘦金体御书的一块碑铭。他崇奉道教，自称“教自道君皇帝”，书写后令汴京神霄宫先刻碑，即后以该碑的拓本颁赐天下摹勒立碑。该碑是《清万寿宫诏》碑之一，位于海南省海口市五公祠内，另一通现存福建省莆田市元妙观三清殿内。\n《神霄玉清万寿宫诏》碑在海南琼山府城五公祠内，为宋徽宗赵佶书，海南《神霄玉清万寿宫诏》碑额已失，驮碑的巨型贔屭仍存。现存碑身高2.34米，宽1.21米，书于宣和元年。该碑瘦金体书法挺拔，舒展遒丽，运笔灵动。周刻回文，中暗刻青龙十八条。宋徽宗笃信道教，该碑于汴京刻成后，拓片分发全国各地翻刻竖立。宋徽宗是亡国之君，其碑刻多被后人毁坏\n据可考史料，全国仅存两尊《神霄玉清万寿宫诏》碑，除了五公祠内这一尊，另一尊现存福建省蒲田市元妙观三清殿内。 海南岛上的这通《神霄玉清万寿宫诏》碑原立在琼州府城的天庆观内，元初改称玄妙观，明更名为玉皇庙，清初玉皇庙倒塌。但这通碑被完整地保存下来，几经迁移，1983年移立于两伏波祠前拜亭内；1994年被公布为海南省第一批文物保护单位；2001年又同五公祠一起被公布为第五批全国重点文物保护单位。\n该碑高2.55米，宽1.3米，厚0.29米，正面光平如镜，背面保留开凿时的原貌。碑文竖行，16行，366字，瘦金体，无标点符号，右行“神霄玉清万寿宫诏御制御书”，正文主要阐述了宋徽宗崇信道教的缘由。\n碑文原文:道者，体之可以即至神；用之可以挈天地；推之可以治天下国家，可使一世之民，举得其恬淡寂常之真，而跻于仁寿之域。朕思是道，人所固有，沉迷既久，待教而兴。俾欲革末世之流俗，还隆古之纯风。盖尝稽参道家之说，独观希夷之妙。\n钦惟长生大帝君、青华大帝君，体道之妙，立乎万物之上。统御神霄，监观万国无疆之休。虽眇躬是荷，而下民之命，实明神所司。乃诏天下，建神霄玉清万寿宫，以严奉祀。自京师始，以致崇极，以示训化，累年于兹，诚忱感格，高厚博临。属者，三元八节，按冲科、启净供，风马云车，来顾来飨。震电交举，神光烛天，群仙翼翼，浮空而来者，或掷宝剑，或洒玉篇，骇听夺目，追参化元。卿士大夫，侍卫之臣，悉见悉闻，叹未之有，咸有纪述，著之简编。\n呜呼！朕之所以隆振道教，帝君之所以眷命孚佑者，自帝皇以还，数千年绝道之后，乃复见于今日，可谓盛矣！岂天之将兴斯文以遗朕，而吾民之幸，适见正于今日耶？布告天下，其谕朕意，毋忽。乃令京师神霄玉清万寿宫刻诏于碑，以碑本赐天下，如大中祥符故事，摹勒立石，以垂无穷。\n宣和元年八月十二日奉圣旨立石。",[7,86,911,621,25,622,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4739e1d31d9aef0754aa90b310aebc23.jpg","高2.55米，宽1.3米，厚0.29米",[],{"id":22005,"slug":22006,"title":22007,"dynasty":189,"author":1442,"museum":311,"description":22008,"tags":22009,"thumbUrl":22010,"material":2164,"size":2165,"collection":139,"collections":22011,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":94},230909,"ni-yun-lin-mo-zhu-tu-ye-ni-zan-230909","倪云林墨竹图页","倪瓒(1301～1374)元代画家、诗人。一说初名珽。字泰宇，后字元镇，号云林，又署云林子，或云林散人，别号荆蛮民、净名居士、朱阳馆主、莆闲仙卿、幻霞子、东海农、无住庵主、绝听子、曲全叟、沧海漫士、懒瓒、东海瓒、奚元朗。无锡（今属江苏）人。世居无锡祗陀里，多乔木，建堂名云林，因以云林自号。他一生不做官，其家是吴中有名的富户；但倪瓒不愿管理生产，自称懒瓒，亦号倪迂。性好洁,服巾日洗数次，屋前后树木也常洗拭。家中藏书数千卷，亲手勘定。擅山水、竹石、枯木等，其山水师法董源、荆浩、关仝、创“折带皴”写山石，画树木则兼师法李成，加以发展 ， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[7,209,23,24,173,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf9873062c542b0b65a27c7d2f3fd83.jpg",[],{"id":22013,"slug":22014,"title":22015,"dynasty":76,"author":963,"museum":311,"description":22016,"tags":22017,"thumbUrl":22018,"material":139,"size":139,"collection":139,"collections":22019,"showCount":21958,"zanCount":2209,"manualWeight":48,"mainColor":49},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[7,23,173,177,225,24,178,29,2607,2278,108,109,403,385,928,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ee2c58c5ce1b367e94b44021285a3.jpg",[],{"id":22021,"slug":22022,"title":22023,"dynasty":18,"author":708,"museum":311,"description":22024,"tags":22025,"thumbUrl":22026,"material":139,"size":139,"collection":139,"collections":22027,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":94},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[7,23,24,25,173,177,178,263,29,174,266,867,34,176,109,3019,1542,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":22029,"slug":22030,"title":1214,"dynasty":189,"author":22031,"museum":311,"description":22032,"tags":22033,"thumbUrl":22034,"material":139,"size":139,"collection":139,"collections":22035,"showCount":21958,"zanCount":2209,"manualWeight":48,"mainColor":49},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[7,209,23,24,4472,26,27,1218,28,177,225,1219,107,1365,108,109,106,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":22037,"slug":22038,"title":22039,"dynasty":18,"author":418,"museum":311,"description":22040,"tags":22041,"thumbUrl":22042,"material":139,"size":139,"collection":139,"collections":22043,"showCount":21958,"zanCount":2209,"manualWeight":48,"mainColor":94},227490,"gong-shi-fang-qiu-chi-zhao-ji-227490","恭事方丘敕","宋徽宗赵佶《恭事方丘敕》质地为五幅不同颜色的均描有金花凤的罗绢，又名《方丘礼戍答妃嫔起居敕》、《方丘季享敕》。",[7,86,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1cb57e70671faa9fe3a3135ca50598.jpg",[],{"id":22045,"slug":22046,"title":1238,"dynasty":76,"author":9369,"museum":311,"description":22047,"tags":22048,"thumbUrl":22049,"material":139,"size":139,"collection":139,"collections":22050,"showCount":21958,"zanCount":1337,"manualWeight":48,"mainColor":94},224601,"mu-dan-tu-zhao-zhi-qian-224601","此作以花石构景，艳色牡丹栖于遒劲老干之上，粉黛冰蓝双色相映，花瓣晕染柔润鲜活，将盛放之姿晕染得明丽不妖。苍褐枝干虬曲舒展，墨色浓淡铺陈出老木肌理，与娇花形成刚柔对照。下方顽石以大写意挥就，枯笔焦墨勾勒棱线，积墨晕染块面，浑朴厚重，稳稳托住上方花簇。书法题跋笔力雄健，与画面笔墨意趣呼应相融，兼工带写间揉合富贵妍丽与文人清刚风骨，尽显雅致雄浑的格调。",[7,23,83,27,225,369,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8cd0de9c7e77bb31d338f9985752b6.jpg",[],{"id":22052,"slug":22053,"title":22054,"dynasty":18,"author":278,"museum":206,"description":22055,"tags":22056,"thumbUrl":22057,"material":123,"size":22058,"collection":42,"collections":22059,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":49},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[7,23,209,24,225,28,27,83,402,226,370,229,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[42,90,45],{"id":22061,"slug":22062,"title":22063,"dynasty":99,"author":862,"museum":1279,"description":22064,"tags":22065,"thumbUrl":22066,"material":3812,"size":22067,"collection":181,"collections":22068,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":49},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水作品。",[7,23,25,173,177,29,5727,4970,34,109,174,266,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","26.3x246.5",[181,163],{"id":22070,"slug":22071,"title":22072,"dynasty":99,"author":10799,"museum":78,"description":22073,"tags":22074,"thumbUrl":22075,"material":27,"size":22076,"collection":90,"collections":22077,"showCount":21958,"zanCount":2209,"manualWeight":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该图气势恢宏，构图巧妙。",[7,209,23,24,25,104,244,27,106,107,433,149,282,34,22084,263],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[181,163],{"id":22089,"slug":22090,"title":22091,"dynasty":189,"author":7354,"museum":101,"description":22092,"tags":22093,"thumbUrl":22094,"material":123,"size":22095,"collection":44,"collections":22096,"showCount":21958,"zanCount":2209,"manualWeight":48,"mainColor":49},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[7,23,24,25,104,28,27,106,107,34,176,109,175,108,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[44,45],{"id":22098,"slug":22099,"title":22100,"dynasty":189,"author":17742,"museum":101,"description":22101,"tags":22102,"thumbUrl":22103,"material":327,"size":22104,"collection":163,"collections":22105,"showCount":21958,"zanCount":2209,"manualWeight":48,"mainColor":49},220369,"mo-ji-shi-yi-tu-tang-di-220369","摩诘诗意图","《摩诘诗意图》毫无疑问是唐棣山水画的代表作。画面近景巨树磅礴有力，远景平野延展不绝，树木是典型的蟹爪枝，山石是典型的鬼面石，皴法是典型的卷云皴，真可谓得李郭“真传”。",[7,23,173,29,866,176,177,225,1265,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd21367e223c6a2061d4a44ff001c3.jpg","71x46cm",[163],{"id":22107,"slug":22108,"title":22109,"dynasty":204,"author":22110,"museum":206,"description":22111,"tags":22112,"thumbUrl":22113,"material":123,"size":22114,"collection":44,"collections":22115,"showCount":21958,"zanCount":2209,"manualWeight":48,"mainColor":49},220250,"she-qi-tu-li-zan-hua-220250","射骑图","李赞华","《射骑图》画在一匹装饰得很华丽的骏马面前，站立着一位中年的契丹贵族，服饰上有着“髡发左衽”的特点。所谓髡发，就是剃光了头顶，四周蓄着一圈头发，额前较短，两鬓较长，后面还梳了两根细辫子，辫梢绕着一个小圆圈。画中人物还着左衽的中衣，外罩圆领窄袖的长袍，袍长过膝，腰里裹着一块白色的皮筒卷，即田猎时所穿的“杆腰”，上束金银装饰的皮带。左边腰间挎着一个弓瞍（囊），右边胁下很显著的地方挂着一个长袋子，中间缝一块虎皮，周围装饰着很深的黑色毛皮，袋子上部有球状圆顶，看来这个袋子大约是一个箭筒。",[7,23,209,28,27,106,150,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c627e579c074623886c010c525eb1.jpg","纵27.1厘米，横49.5厘米",[44],{"id":22117,"slug":22118,"title":22119,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":22120,"thumbUrl":22125,"material":699,"size":1533,"collection":139,"collections":22126,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":94},220033,"dong-zhuang-tu-ce-zhi-dao-qi-shen-zhou-220033","东庄图册之稻畦",[7,23,24,81,173,29,22121,22122,109,384,928,22123,22124],"稻","田","屋","田埂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5694bd462c6b7cd7977b9ef743f30161.jpg",[],{"id":22128,"slug":22129,"title":22130,"dynasty":18,"author":5793,"museum":206,"description":22131,"tags":22132,"thumbUrl":22133,"material":699,"size":22134,"collection":42,"collections":22135,"showCount":21958,"zanCount":2209,"manualWeight":48,"mainColor":94},219954,"shan-yin-shu-sha-tu-liang-kai-219954","山阴书箑图","画中每个人物均表情生动，衣纹线条潇洒流畅，虽然不见得是梁楷亲笔所作，却能充分掌握住写意人物的简率趣味。",[7,209,23,24,173,244,7834,106,866,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1cc436980034bf908ab2030dac5a49.jpg","31.3×58.9公分",[42],{"id":22137,"slug":22138,"title":22139,"dynasty":18,"author":5793,"museum":206,"description":22140,"tags":22141,"thumbUrl":22142,"material":123,"size":22143,"collection":44,"collections":22144,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":49},219608,"dong-li-gao-shi-tu-liang-kai-219608","东篱高士图","《宋梁楷东篱高士图轴》是南宋画家梁楷创作的作品此画中一高士手拿菊花，漫步在山中。背景用淡墨烘染，而红叶跟高士手中的菊花，点出这幅图画的是秋天。陶渊明是著名的“隐逸诗人”，又特别爱菊花，因此图中的高士不禁让人联想到陶渊明。",[7,209,23,24,225,7834,173,27,106,5728,866,176,109,692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6dfba9b9f71ac3b315d150e8db4344f.jpg","纵71.5厘米，横36.7厘米",[44],{"id":22146,"slug":22147,"title":22148,"dynasty":18,"author":278,"museum":206,"description":22149,"tags":22150,"thumbUrl":22151,"material":123,"size":22152,"collection":42,"collections":22153,"showCount":21958,"zanCount":2209,"manualWeight":48,"mainColor":94},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[7,209,23,27,104,28,175,227,34,107,3020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[42,44],{"id":22155,"slug":22156,"title":22157,"dynasty":18,"author":278,"museum":206,"description":22158,"tags":22159,"thumbUrl":22161,"material":123,"size":139,"collection":181,"collections":22162,"showCount":21958,"zanCount":1337,"manualWeight":48,"mainColor":49},218724,"qiu-zhu-wen-qin-tu-yi-ming-218724","秋渚文禽图","这是一幅秋日的水岛画，画中有飞鸟和参天古树，意境凄凉。该书被故宫博物院和大英博物馆收藏，学者们普遍认为是元代的作品。",[7,23,209,28,173,27,866,1423,229,1628,22160,282,5535],"渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[181],{"id":22164,"slug":22165,"title":22166,"dynasty":76,"author":16577,"museum":20,"description":22167,"tags":22168,"thumbUrl":22169,"material":409,"size":22170,"collection":181,"collections":22171,"showCount":21958,"zanCount":48,"manualWeight":48,"mainColor":94},218497,"fang-mei-dao-ren-xia-shan-yu-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心经","《般若波罗蜜多心经》（梵语：प्रज्ञापारमिताहृदय Prajñāpāramitāhṛdaya 藏语：བཅོམ་ལྡན་འདས་མ་ཤེས་རབ་ཀྱི་ཕ་རོལ་ཏུ་ཕྱིན་པའི་སྙིང་པོ）是大乘佛教表达空性和般若波罗蜜观点的经典，又称《摩诃般若波罗蜜多心经》，简称《般若心经》、《心经》。本经是《大品般若经》的别生经，取自〈习应品〉和〈劝持品〉，作为《大般若经》的精要而集出，无序分与流通分。与《金刚经》并为通行最广的般若经。",[7,10270,243,86,5152,621,27,24,2403,22298],"装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2848fc08995900089c6b332fd8a712.jpg",[],{"id":22302,"slug":22303,"title":22304,"dynasty":76,"author":12256,"museum":311,"description":22305,"tags":22306,"thumbUrl":22308,"material":139,"size":139,"collection":139,"collections":22309,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":94},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[7,209,23,24,104,28,27,29,107,2019,13000,34,114,115,176,22307,15678,13661,1776,1087,1646],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":22311,"slug":22312,"title":22313,"dynasty":18,"author":278,"museum":311,"description":22314,"tags":22315,"thumbUrl":22316,"material":139,"size":139,"collection":139,"collections":22317,"showCount":22215,"zanCount":1009,"manualWeight":48,"mainColor":49},223630,"he-xie-tu-yi-ming-223630","荷蟹图","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[7,209,23,24,27,28,227,4152,137,314,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],{"id":22319,"slug":22320,"title":22321,"dynasty":18,"author":278,"museum":20,"description":22322,"tags":22323,"thumbUrl":22324,"material":573,"size":22325,"collection":139,"collections":22326,"showCount":22215,"zanCount":1337,"manualWeight":48,"mainColor":49},223584,"wa-que-qi-zhi-tu-ye-yi-ming-223584","瓦雀栖枝图页","此画绘海棠一枝，果实散挂枝头，树叶已染秋霜。\n枝头栖息着姿势各异的五只瓦雀，其中一只正仰首注视着枝叶上的昆虫，张口欲啄，形象生动活泼。\n整个画面张弛有致，设色研丽，刻画写实。\n海棠间杂红、黄、绿色，细看可见叶、果有些已遭虫蚀。\n作者取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。\n鸟的羽毛用细笔一笔一笔勾描，具有毛茸茸的质感。",[7,23,209,24,81,28,27,83,266,12751,926,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398ac81f47572946b8488c7c3af380e0.jpg","纵28.9厘米横29厘米",[],{"id":22328,"slug":22329,"title":22330,"dynasty":18,"author":708,"museum":20,"description":22331,"tags":22332,"thumbUrl":22333,"material":67,"size":22334,"collection":139,"collections":22335,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},223340,"yun-feng-yuan-tiao-tu-xia-gui-223340","云峰远眺图","图绘群山相拥，山腰中云雾霭霭，一平坦处二人观景寒暄，一小童拿一长竿站立其后；远处松木成林，楼台庭院坐落于山腰中，隐约的山峰高耸陡峭，侧面如刀削般平整。此画画风近夏圭风格，画面简而不空，所画山峰线条刚劲、峰顶尖利！",[7,209,23,24,173,29,177,106,30,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728ca2ae2c5d24dda0b691a4c2b1e73f.jpg","24.8*26.4cm",[],{"id":22337,"slug":22338,"title":22339,"dynasty":76,"author":18846,"museum":311,"description":18847,"tags":22340,"thumbUrl":22341,"material":699,"size":139,"collection":44,"collections":22342,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":4391},223276,"luo-han-chang-juan-hong-yi-fa-shi-223276","罗汉长卷",[7,209,23,24,25,243,244,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5bdb6c55f2c12f941fbbee4339b485.jpg",[44],{"id":22344,"slug":22345,"title":22346,"dynasty":76,"author":336,"museum":206,"description":10745,"tags":22347,"thumbUrl":22349,"material":573,"size":10749,"collection":181,"collections":22350,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[7,209,23,28,27,104,1126,106,107,29,11890,34,115,35,1434,298,176,19108,114,22348],"人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[181,45],{"id":22352,"slug":22353,"title":22354,"dynasty":76,"author":22355,"museum":78,"description":22356,"tags":22357,"thumbUrl":22358,"material":9374,"size":22359,"collection":181,"collections":22360,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":94},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[7,23,24,25,173,27,177,29,734,282,34,176,35,174,109,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","26×455",[181,163],{"id":22362,"slug":22363,"title":22364,"dynasty":99,"author":22365,"museum":206,"description":22366,"tags":22367,"thumbUrl":22371,"material":4130,"size":22372,"collection":181,"collections":22373,"showCount":22215,"zanCount":2209,"manualWeight":48,"mainColor":49},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[7,23,209,1218,173,22368,22369,557,466,108,174,22370,2882,467,107,34,559],"云头皴","蟹爪枝","客舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[181,163],{"id":22375,"slug":22376,"title":22377,"dynasty":189,"author":22378,"museum":206,"description":22379,"tags":22380,"thumbUrl":22381,"material":573,"size":22382,"collection":163,"collections":22383,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},221857,"liu-yan-tu-sheng-chang-nian-221857","柳燕图","盛昌年","本幅无作者款识，右侧有“廷晖”残印半方及康有为、王季迁藏印。\n整幅画面构图繁密，洋溢着一派春和景明的气象。\n图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。\n山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非 家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[7,23,173,225,83,2607,2608,266,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","75.9x25.5",[163,1896],{"id":22385,"slug":22386,"title":1330,"dynasty":189,"author":17471,"museum":56,"description":22387,"tags":22388,"thumbUrl":22389,"material":67,"size":22390,"collection":163,"collections":22391,"showCount":22215,"zanCount":2209,"manualWeight":48,"mainColor":49},221805,"zhu-shi-tu-li-shi-xing-221805","水墨画坡石重叠，三竿晴竹顶天立地，旁傍拳石，丛篁荆棘掩映衬托。竹叶疏密偃仰有致，显出微风乍起有向上飘举之势。石皴圆润，存董、巨遗法。余图浓淡虚实，笔笔相应，同笔自然灵活稳健，墨色偏淡层次分明。画心左侧行书署：“蓟丘李士行遵道作”款。左下角钤梁清标、临圣斋收藏印证。李士行(1282—1328)，字遵道，号黄岩，河北蓟丘人是名画家李衔的长子。诗歌、书画除力承家学之外，又得赵孟頫和鲜于枢之指授，善画山水，以所画大明宫图入晃仁宗嘉奖其能。画竹石枝叶挺秀，得写生妙趣。此图墨竹画法纯出李衔，披石大披麻皴，有别于乃父之渴笔渲染。现藏辽宁省博物馆。",[7,23,173,225,226,385,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ecc7ea8f565c5eebab3e747c307003.jpg","画心纵170、横92.3厘米",[163,1896],{"id":22393,"slug":22394,"title":4663,"dynasty":189,"author":2307,"museum":20,"description":22395,"tags":22396,"thumbUrl":22397,"material":327,"size":22398,"collection":181,"collections":22399,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":255},221790,"han-lin-tu-cao-zhi-bai-221790","曹知白(1272—1355), 字又元, 号云西, 又字贞素, 人称贞素先生, 华亭(今上海松江县) 人。至元中任昆山教谕, 曾北上大都(今北京), 不久辞归, 隐居不仕, 饱览经书和研究道家之说。自写书斋匾额曰：“常清净”, 以示求闲适恬静意趣。《寒林图》画枯林一行于坡石之间, 树干劲挺, 疏落有致, 笔墨带有秀润气, 属中年之作。",[7,23,24,29,173,177,1423,866,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[181,163],{"id":22401,"slug":22402,"title":22403,"dynasty":189,"author":921,"museum":222,"description":13235,"tags":22404,"thumbUrl":22405,"material":40,"size":22406,"collection":44,"collections":22407,"showCount":22215,"zanCount":2209,"manualWeight":48,"mainColor":49},221770,"ren-ma-tu-ren-ren-fa-221770","人马图",[7,23,24,25,28,27,150,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476e55f8d28399ffef02dac57ac64f66.jpg","纵：50.6cm，横：36cm",[44,45],{"id":22409,"slug":22410,"title":22411,"dynasty":18,"author":18486,"museum":1666,"description":22412,"tags":22413,"thumbUrl":22414,"material":22415,"size":22416,"collection":42,"collections":22417,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},221251,"yan-tu-hui-chong-221251","雁图","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[7,209,23,24,173,27,3898,266,282,3899,229,2042,18490,1628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[42,90,45],{"id":22419,"slug":22420,"title":22421,"dynasty":1483,"author":3526,"museum":206,"description":22422,"tags":22423,"thumbUrl":22424,"material":712,"size":22425,"collection":328,"collections":22426,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":94},221037,"yuan-huan-tie-wang-xi-zhi-221037","远宦帖","《远宦帖》亦称《省别帖》，为《十七帖》丛帖第十五通尺牍。草书，6行，53字。王羲之在信中对周抚对家人的问候表示感谢，提及自己的妻子的情况时，对其病重非常担忧。信中还问及陶侃家人和一些同僚的近况。《中国书法全集》对《远宦帖》的书法风格评价为“偏锋侧锋甚明显，体势多有章草意味”。用笔与气势\n《远宦帖》草法以简约为主，虽间有萦绕，亦简略不繁。两字连属者仅有“省别”、“小大”、“子亦”、“数问”、“救命”、“足下”六处，无三字相连者。偶有收笔如章草者，如“不”字，也因笔毫不易遣锋之故，“远”字最后之萦绕，向上回笔处笔锋分岔，正能说明用笔为硬毫，使转、收纵不甚灵便。《远宦帖》其字间隔不大，较为拥密，与《十七帖》中间疏润者不类。字形多向横扁发挥，无一笔纵情直下者。行距颇有余地。\n整篇气势虽不畅速，但和谐无碍，中无滞阻之处。笔画洒落有致，粗细之间匀净清爽，又不失其古朴之趣，从中甚可体会古人作草并不一味求其潦草恣肆，而是凝重而无阻塞；但全面来看，气充意随，一气呵成，如瀑流之激荡，时有浪花泛起，足可流连其间，领悟寄情其间，遣词造句之含蕴。\n《省别帖》用笔的来龙去脉交代得非常清晰，体现了王羲之草书线条的丰富性——用笔中的圆转、方折、连带、割断、轻重、提按等对立因素在起笔、收笔、运笔过程中的运用与变化。其次，结构与章法方面的大小错落、左右穿插、上下移位等因素，也增加了字势的运动感，显得虚活灵动，生机盎然。",[7,86,178,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef2a681f2096c798987eb1d125aaa3e.jpg","纵24.8厘米，横21.3厘米",[328,2097],{"id":22428,"slug":22429,"title":22430,"dynasty":189,"author":645,"museum":311,"description":22431,"tags":22432,"thumbUrl":22433,"material":699,"size":22434,"collection":181,"collections":22435,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[7,23,24,104,28,173,107,1087,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[181,163],{"id":22437,"slug":22438,"title":22439,"dynasty":189,"author":645,"museum":20,"description":22440,"tags":22441,"thumbUrl":22442,"material":22443,"size":22444,"collection":42,"collections":22445,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[7,23,24,25,27,83,226,266,86,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 设色画","纵25.4厘米,横36.2厘米",[42,90,45],{"id":22447,"slug":22448,"title":22449,"dynasty":189,"author":767,"museum":206,"description":22450,"tags":22451,"thumbUrl":22452,"material":67,"size":22453,"collection":181,"collections":22454,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[7,209,23,24,225,173,27,177,29,34,109,108,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[181,45],{"id":22456,"slug":22457,"title":22458,"dynasty":949,"author":1940,"museum":3946,"description":22459,"tags":22460,"thumbUrl":22462,"material":139,"size":139,"collection":139,"collections":22463,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":94},220494,"chan-yu-liu-zhang-da-qian-220494","蝉与柳","以淡墨挥写柳干，枯笔焦墨提点节疤，苍劲老辣。柳条以中锋曳动，兼施花青淡赭晕染，虚实交错如流烟漫卷，将秋风里柳丝的柔曼含露尽皆写出。\n\n隐于柳荫的秋蝉只以数笔点就，形简神完，似将振翅。配题诗句暗合清秋意境，笔墨诗思交融，尽现疏淡幽寂的秋日况味，以极简的写意笔墨，勾勒出物我皆忘的闲淡禅意。",[7,23,173,400,22461,2607,225],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac69fc3a617ba8d5e5c90182a798a91.jpg",[],{"id":22465,"slug":22466,"title":14298,"dynasty":99,"author":936,"museum":78,"description":22467,"tags":22468,"thumbUrl":22469,"material":123,"size":22470,"collection":90,"collections":22471,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},220339,"tan-mei-tu-chen-hong-shou-220339","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[7,23,24,225,28,27,106,150,402,29,384,558,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[90,45],{"id":22473,"slug":22474,"title":22475,"dynasty":204,"author":22476,"museum":206,"description":22477,"tags":22478,"thumbUrl":22479,"material":123,"size":22480,"collection":44,"collections":22481,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},220246,"chu-lie-tu-hu-gui-220246","出猎图","胡瓌","本幅描写塞外族人，携鹰出猎之情景。画面绘猎骑者四人，穿圆领窄袖长袍，腰配短刀，骑者左手驭马，右手架着猎鹰，四骑聚于一处，似在交流狩猎经过。最右端者之马鞍上，捆扎一只胸前渗血的野兔。人物的髡发须髯、骏马的鬃鬣、猎鹰的毛羽，无不描绘精致，形象逼真。作者传为胡瓌，契丹人，约活动于九、十世纪之间，素以精于描绘塞外风光及人马而闻名，因以名之。",[7,23,24,209,27,28,106,150,1422,8437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb54e1035101d68949b7ae4331ce513.jpg","32.9x44.3",[44],{"id":22483,"slug":22484,"title":6694,"dynasty":189,"author":22485,"museum":5803,"description":22486,"tags":22487,"thumbUrl":22488,"material":123,"size":22489,"collection":42,"collections":22490,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},220240,"luo-han-tu-cai-shan-220240","蔡山","本图描绘的是一位拄拐杖坐在岩石上的罗汉，从姿态上看来应属第一宾度罗跋啰堕阇尊者，尊者右足跨在左膝之上，半跏坐于岩石上，右手执竹杖靠住右肩，容貌古野呈胡相，长眉之下慈悲坚毅的目光炯炯有神。用笔稳健有力，脸上皱纹、衣服褶纹、以及手足线条等均相当周密，调整合宜，设色淡雅，不碍线条的流畅。罗汉坐的岩石隙缝中暗藏有“蔡山”落款。估计此图原为十六罗汉图全套中的一幅，现存有类似风格的另一幅罗汉图。从苍老消痩的罗汉表现手法中可以看出蔡山的固有画风，画中透露出的怪异氛围，与同时代的颜辉派有着相通之处。画面右下角有足利义直的寄进铭“奉三宝弟子右兵卫督源直义舍入”， 可知它是捐献给足利直义的某寺之物。据说由足利直义于贞和2年(1346)赠予高野山金刚三昧院。\n“蔡山”之名，根据室町时代的 “君台观左右帐记”中记载，除了“元人”之外，其他均不详，传统的画史上也始终未见其名。就署名于岩石隙缝一事来看，似仍沿袭了宋代的古风，元代中期以后，此风便不多见了。本幅罗汉图属于高古细润的作风，那是融和了南宋以来，文人画和职业画工的优点，在元画中又是一件杰出而珍贵的作品。",[7,23,24,225,243,106,28,27,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea77b489c9244d27f3da7403e09bf107.jpg","113.3×53.9 cm",[42],{"id":22492,"slug":22493,"title":7402,"dynasty":18,"author":21275,"museum":22494,"description":22495,"tags":22496,"thumbUrl":22497,"material":327,"size":139,"collection":181,"collections":22498,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":94},219920,"dong-ting-qiu-yue-tu-yu-jian-219920","日本文化厅","南宋玉涧的《洞庭秋月图》描绘了楼阁、圆月和树枝等，栩栩如生在大片的留白处题诗一首：“四面平湖月满出，一阿螺髻镜中看，岳阳楼上听长笛，诉尽崎岖行路难。洞庭秋月。”月光如泻，笛声悠扬，画中有声，诗画辉映，足见玉涧是一位集诗、书、画三绝为一身的僧人。",[7,209,23,24,25,173,86,263,29,285,175,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e259371a089172ab221af814ccd9dc.jpg",[181],{"id":22500,"slug":22501,"title":22502,"dynasty":18,"author":16226,"museum":311,"description":22503,"tags":22504,"thumbUrl":22505,"material":123,"size":22506,"collection":44,"collections":22507,"showCount":22215,"zanCount":2209,"manualWeight":48,"mainColor":49},219755,"zhong-xing-zhen-ying-tu-liu-duan-ben-xiao-zhao-219755","中兴祯应图六段本","萧照（公元1131年-公元1162年），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[7,23,209,25,28,27,177,29,106,107,150,175,34,4140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba4eb15be72fe5d39ab5fa3b3fd957.jpg","31x1148厘米",[44],{"id":22509,"slug":22510,"title":22511,"dynasty":18,"author":278,"museum":78,"description":22512,"tags":22513,"thumbUrl":22514,"material":123,"size":22515,"collection":181,"collections":22516,"showCount":22215,"zanCount":1337,"manualWeight":48,"mainColor":49},218662,"song-feng-lou-guan-tu-yi-ming-218662","松风楼观图","山顶上的松树被涂上了颜色，天空中出现了奇特的山峰，山坡上的森林中矗立着建筑和房屋。悬崖边上有围栏和行人。艺术家用长线和水流来画山和石头，用各种点和线来画森林。近处的山是沉重的，远处的山是缥缈的，近处的树是苍白的，远处的树是缥缈的，显示出由于空气的阻隔，近处和远处的景物在视觉上的差异。",[7,23,24,209,1352,177,27,29,403,107,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05aa16083afb2ee32eae9a2801aa5c94.jpg","25.6x27.1",[181],{"id":22518,"slug":22519,"title":22520,"dynasty":18,"author":5270,"museum":20,"description":22521,"tags":22522,"thumbUrl":22523,"material":327,"size":22524,"collection":44,"collections":22525,"showCount":22215,"zanCount":1337,"manualWeight":48,"mainColor":49},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[7,23,24,81,244,106,29,34,175,266,150,109,1422,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[44],{"id":22527,"slug":22528,"title":20281,"dynasty":18,"author":278,"museum":78,"description":22529,"tags":22530,"thumbUrl":22531,"material":123,"size":22532,"collection":181,"collections":22533,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[7,23,24,173,29,174,557,34,35,2019,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[181],{"id":22535,"slug":22536,"title":22537,"dynasty":18,"author":1419,"museum":206,"description":1851,"tags":22538,"thumbUrl":22540,"material":123,"size":1854,"collection":139,"collections":22541,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":94},218569,"hua-niao-shan-shui-xiao-pin-ce-shan-jing-zhang-xing-ma-yuan-218569","花鸟山水小品册-山径杖行",[7,2042,23,24,81,27,177,29,106,22539,34,558,263],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6032da58b059d48a3d1b48a9d58189.jpg",[],{"id":22543,"slug":22544,"title":22545,"dynasty":99,"author":1362,"museum":20,"description":22546,"tags":22547,"thumbUrl":22548,"material":88,"size":22549,"collection":328,"collections":22550,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":94},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[7,23,24,25,2352,173,27,28,29,107,108,109,175,34,176,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[328,181],{"id":22552,"slug":22553,"title":1462,"dynasty":99,"author":16216,"museum":20,"description":22554,"tags":22555,"thumbUrl":22556,"material":88,"size":22557,"collection":181,"collections":22558,"showCount":22215,"zanCount":1337,"manualWeight":48,"mainColor":94},218374,"shan-shui-tu-li-yong-chang-218374","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[7,23,173,177,225,263,29,176,34,865,1365,35,4969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[181],{"id":22560,"slug":22561,"title":22562,"dynasty":18,"author":278,"museum":20,"description":22563,"tags":22564,"thumbUrl":22570,"material":409,"size":139,"collection":181,"collections":22571,"showCount":22215,"zanCount":1337,"manualWeight":48,"mainColor":49},218320,"lu-hong-cao-tang-shi-zhi-tu-yi-ming-218320","卢鸿草堂十志图","长卷徐徐展开，十帧隐逸图景次第铺呈。峰岫含烟，林麓交映，古树盘曲如铁，流泉飞泻似练。其间草堂错落，或临溪筑榭，或依山构宇，隐者或凭轩观瀑，或策杖行吟，或围坐论道，意态悠然。墨色浓淡相宜，皴擦点染间见丘壑之妙；题辞穿插其间，笔意与画意相生，文气氤氲。整幅作品古雅沉静，尽得林泉高致之趣，仿佛能闻松风竹韵，听山涧清音，令人心向往之，沉醉于那片远离尘嚣的幽居天地。",[7,209,23,25,173,29,3341,9889,12132,22565,22566,22567,177,1241,13620,22568,22569],"峰岫","林麓","隐者","古雅","林泉高致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96939053844aa2166756d34301b6320a.jpg",[181],{"id":22573,"slug":22574,"title":22575,"dynasty":99,"author":22576,"museum":206,"description":22577,"tags":22578,"thumbUrl":22585,"material":123,"size":22586,"collection":44,"collections":22587,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":49},218267,"qi-xian-tu-juan-liu-zhong-xian-218267","七贤图卷","刘仲贤","素绢之上，赭黄底色晕染出古朴雅致的氛围。雅士们或踞坐鼓琴，指尖似凝弦上意；或对弈楸枰，棋局间藏尽机锋；或醉卧倾杯，醺然态尽显放达；或执笔临帖，墨痕若带纸间香。人物衣袂翩然，线条流畅婉转，神态鲜活灵动——鼓琴者专注，对弈者凝思，醉酒者憨态，执笔人沉静。简淡背景未加繁复修饰，却将文人雅集的闲适超脱烘托得淋漓尽致。笔墨间暗蕴魏晋风骨余韵，将古代文人的精神情致凝成永恒画面，尽显生活之趣与心灵之境。",[7,23,24,25,27,28,106,5187,210,22579,22580,9194,22581,22582,19600,7492,22583,22584,15231,9193],"棋具","酒器","古琴","棋盘","对弈","书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e87f9ff8949e45d600c5bd0cd4deed.jpg","31.4x128.5",[44],{"id":22589,"slug":22590,"title":22591,"dynasty":18,"author":676,"museum":311,"description":22592,"tags":22593,"thumbUrl":22595,"material":699,"size":139,"collection":44,"collections":22596,"showCount":22215,"zanCount":2209,"manualWeight":48,"mainColor":94},218088,"bai-miao-shi-liu-luo-han-du-hai-tu-li-gong-lin-218088","白描十六罗汉渡海图","宋朝时期，有一位名叫李公麟的画家，他创作了一幅名为“白描十六罗汉渡海图”的作品。这幅画描绘了十六位罗汉在海上渡江的情景。\n\n在这幅画中，十六位罗汉都站在船上，举着经书，准备渡江。他们身穿红袈裟，头戴黄色的僧帽，神情肃穆。周围的水面上有许多小鱼和蝴蝶在玩耍。\n\n这幅画的背景是一片蔚蓝的天空和海水，上面有云朵在飘动。整幅画的画风简洁明快，线条流畅，色彩明亮，充满了生机和动感。\n\n这幅画反映了宋朝佛教文化的特点，也是李公麟作品中的经典之作。",[7,23,25,244,243,106,29,18311,22594],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fe367beaa46b579b2e0e93d18fe367.jpg",[44],{"id":22598,"slug":22599,"title":22600,"dynasty":18,"author":1419,"museum":132,"description":3437,"tags":22601,"thumbUrl":22602,"material":123,"size":3440,"collection":139,"collections":22603,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":94},218055,"song-di-ming-ti-ce-liu-ma-yuan-218055","宋帝命题册(六)",[7,23,24,81,27,177,1365,106,29,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b3aa4b6ef4e2b674f3089d196e80f2.jpg",[],{"id":22605,"slug":22606,"title":22607,"dynasty":18,"author":1419,"museum":132,"description":3437,"tags":22608,"thumbUrl":22609,"material":123,"size":3440,"collection":139,"collections":22610,"showCount":22215,"zanCount":48,"manualWeight":48,"mainColor":94},218051,"song-di-ming-ti-ce-qi-ma-yuan-218051","宋帝命题册(七)",[7,23,81,27,29,175,384,1265,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8981171a12069285c26c5b92cd367aa4.jpg",[],{"id":22612,"slug":22613,"title":5017,"dynasty":18,"author":278,"museum":311,"description":22614,"tags":22615,"thumbUrl":22616,"material":2164,"size":2165,"collection":139,"collections":22617,"showCount":142,"zanCount":1104,"manualWeight":48,"mainColor":49},288461,"xi-shan-wu-jin-tu-yi-ming-288461","此作用全景长卷铺展丘壑，群峰层峦拔地而起，或雄峙崔嵬，或玲珑峭拔，烟云在峰林之间舒卷弥漫，晕染出远近山岫的虚实层次。\n\n笔墨苍劲古拙，以浑厚皴法写出山石嶙峋肌理，林木错落点染，蓊郁苍茂。澄澈水面留白托景，行舟、山居隐现于林泉，将山野的雄浑大气与村居野趣相融，于咫尺长卷中铺陈出千里江山的无尽意趣，尽显林泉高致的山水雅韵，藏着天地悠悠的静穆生机。",[7,23,25,173,1218,176,34,109,174,108,1087,37,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd2b09a208c3f6337ea5aa4bf8bcfd5.jpg",[],{"id":22619,"slug":22620,"title":22621,"dynasty":76,"author":1047,"museum":20,"description":22622,"tags":22623,"thumbUrl":22626,"material":1271,"size":22627,"collection":139,"collections":22628,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},234229,"shu-guo-juan-zhu-da-234229","蔬果卷","从右到左勾勒出黄瓜、芋头、葱、大蒜、茄子、白菜、莲藕、梨等蔬菜水果，排列成行，都是农村常见的，有不同的 形与质，大小不一，疏密，散落。有人生感和禅意。 是八大山人一贯的写意风格。",[7,209,23,24,25,173,400,178,263,4675,11129,4678,22624,22625,693],"蒜","黄瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b940c2439fdac30eea8813cf5a83875.jpg","28×206.5厘米",[],{"id":22630,"slug":22631,"title":22632,"dynasty":54,"author":10092,"museum":56,"description":22633,"tags":22634,"thumbUrl":22635,"material":699,"size":22636,"collection":139,"collections":22637,"showCount":142,"zanCount":2209,"manualWeight":48,"mainColor":49},232269,"gu-shi-si-tie-zhang-xu-232269","古诗四帖","通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。”今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”\n释文:东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问棘花。应逐上元酒，同来访蔡家。\n北阙临丹水，南宫生绛云。龙泥印玉简，大火练真文。上元风雨散，中天哥吹分。虚驾千寻上，空香万里闻\n谢灵运王子晋赞\n淑质非不丽，难之以万年。储宫非不贵，岂若上登天。王子复清旷，区中实哗嚣。喧既见浮丘公，与尔共纷翻。\n岩下一老公，四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不别可？其书非世教，其人必贤哲。\n备注:《古诗四帖》录文为四首诗赋。前两首分别是南北朝庾信的《道士步虚词》之六和之八，后两首是南朝谢灵运的《王子晋赞》和《岩下见一老翁四五少年赞》。\n《庾子山集》和《谢灵运集校注》分别录有原文如下：\n东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问枣花。上元应送酒，来向蔡经家。\n北阙临玄水，南宫生绛云。龙泥印玉策，大火炼真文。上元风雨散，中天歌吹分。灵驾千寻上，空香万里闻。\n谢灵运王子晋赞\n淑质非不丽，难以之百年。储宫非不贵，岂若登云天。王子爱清净，区中实骅嚣。喧既见浮丘公，与尔共纷翻。\n岩下见一老翁四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不可别。其书非世教，其人必贤哲。\n《古诗四帖》是否为张旭所作，尚有争议，但它是张旭笔法系统中一件重要的作品。它大部分线条不强调提按，而重视粗细均匀的线条中使转与速度的变化。中侧锋并用，笔锋常落在线条端部的一侧，但立即转为中锋；同时流畅中又往往生出圭角，如“年”、“别”等字，有不可端倪之感。左右部分衔接时，有时用粗重的线条。这一点在颜真卿《刘中使帖》中“期”、“将”的笔触也可看到，通过此点能看到颜、张的关系。\n狂草中的点画与其他书体中的点画不同。其一，狂草点画在连续运动中完成，而且较为快速，对控制用笔的敏捷、准确有很高要求；其二，其他书体字体中留驻、按顿等常用的方法在狂草中无法使用，只能更多地依靠手腕及其他关节的控制，因此在临习中一定要找到与点画形状相配合的运动方式。一种点画，书家可以用不同的笔法临写出大体相似的形状，但对狂草来说，只有自然而流畅地书写出这一形状才是可取的，其它操作方法不是把学习者和欣赏者引向另一种风格，而是引人离开草书。\n《古诗四帖》中有少量弱笔，但无损于整个作品的流动、敦厚，就大部分线条而言，已达到得心应手、落笔成趣的境界。草书中不离法则而随意驱运法则，这是高闲等人从来不曾梦想过的境地。\n“四帖”中真正使人感到意外的还是字结构。由于阅读与欣赏习惯的影响，“单字结构”总是欣赏者感觉中甩不掉的一个层面。与张旭其他作品相比，这件作品不符合他惯常的构字规则。\n《古诗四帖》属狂草。特点是较过去更为狂放，整体气势如长江大河一泻千里，急风骤雨，所以在草书发展史上是新突破。它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。\n《古诗四帖》，张旭自己并未书款，说它是张旭作品是根据董其昌鉴定， 后人多沿此说，但也颇有争议。\n张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。\n《古诗四帖》笔法奔放不羁，如惊电激雷，倏忽万里，而又不离规矩。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。董其昌评说：“有悬崖坠，急雨旋风之势。”\n《古诗四帖》通篇气势奔放，运笔无往不收，如锥划沙，无纤巧浮华之笔。盛唐时期，以张旭为代表的一派草书风靡一时，它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。正如唐代文学家韩愈《送高闲上人序》中所云：“张旭善草书，不冶它技，喜怒窘穷，忧悲愉佚，怨恨，思慕，酣醉无聊，不平，有动于心，必于从草书焉发之。”\n《古诗四帖》早在北宋宋仁宗嘉佑年间已有刻本流传，墨迹进入北宋内府。“靖康之乱”散入民间，南宋后期为贾似道收藏。后转入南宋收藏家赵与勤家。明代归著名收藏家华夏的真赏斋，后又归项元汴，清时入内府。\n宋《宣和书谱》定为南北朝谢灵运书，元明时《云烟过眼录》、《珊瑚网书跋》、《平生壮观》均有记载，传至明朝中期，对作者产生怀疑，直到董其昌，才从诗韵变化揭示原说破绽并据草书肯定为张旭之作。《石渠宝笈初编》将此帖误断为赝品。\n关于是否是张旭真迹，明清均有争议，到现在仍有学者有不同意见。",[7,209,23,24,86,25,2570,263,27,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b552411f9ee44f8aa35e32c763c8a8.jpg","纵28.8厘米，横192.3厘米",[],{"id":22639,"slug":22640,"title":22641,"dynasty":18,"author":22642,"museum":311,"description":22643,"tags":22644,"thumbUrl":22645,"material":139,"size":139,"collection":139,"collections":22646,"showCount":142,"zanCount":2209,"manualWeight":48,"mainColor":94},227816,"xie-sheng-zi-wei-wei-sheng-227816","写生紫薇","卫昇","卫昇，(公元1世纪)〔南宋〕其生平仅见元代夏文彦撰《图绘宝鉴》卷四载“卫昇，画花鸟甚佳”7字，与南宋画人平列在一起，可见卫昇为南宋时人。\n传世作品仅有《写生紫薇图》册页，绢本，设色，纵2.8厘米，横25.厘米，以工笔重色法写折枝盛开之紫薇花，造型精确，结构严谨，用笔工整，敷色雅丽，是一幅精到之作，具有南宋院体画特点，现藏 。",[7,209,23,24,28,27,83,2927,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa4997a97e82526f8899902e8a264a.jpg",[],{"id":22648,"slug":22649,"title":365,"dynasty":76,"author":9090,"museum":311,"description":22650,"tags":22651,"thumbUrl":22652,"material":139,"size":139,"collection":139,"collections":22653,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},224591,"yu-tang-fu-gui-tu-zou-yi-gui-224591","《玉堂富贵图》是清代邹一桂的作品，该图规格为197×96cm，此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n该图画是邹一桂的作品，作于清代。\n此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n汉代皇宫有“玉堂殿”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是职位高升指日可待。\n“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。\n”，指富裕而显贵的意思。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。\n整个画面热烈而秀雅，韵味十足。\n，字小山。\n善画人物、花卉、翎毛、偶画山水。\n擅长水墨花卉，极有重名。",[7,209,23,24,225,28,27,83,369,371,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74591eb4de60da169f51849ba65b2284.jpg",[],{"id":22655,"slug":22656,"title":22657,"dynasty":76,"author":3676,"museum":311,"description":22658,"tags":22659,"thumbUrl":22660,"material":699,"size":22661,"collection":90,"collections":22662,"showCount":142,"zanCount":1337,"manualWeight":48,"mainColor":94},224236,"xia-qi-tu-zhou-wu-chang-shuo-224236","霞气图轴","昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”表现形式。",[7,23,225,173,27,83,402,229,263,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[90,45],{"id":22664,"slug":22665,"title":22666,"dynasty":76,"author":3676,"museum":311,"description":22667,"tags":22668,"thumbUrl":22669,"material":139,"size":139,"collection":139,"collections":22670,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":255},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[7,23,24,225,27,173,402,227,228,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],{"id":22672,"slug":22673,"title":22674,"dynasty":18,"author":278,"museum":206,"description":22675,"tags":22676,"thumbUrl":22678,"material":27,"size":22679,"collection":42,"collections":22680,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[7,23,209,225,29,177,173,734,1775,34,468,22677,174,3024],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[42,181,163],{"id":22682,"slug":22683,"title":22684,"dynasty":18,"author":278,"museum":20,"description":22685,"tags":22686,"thumbUrl":22688,"material":40,"size":22689,"collection":139,"collections":22690,"showCount":142,"zanCount":1104,"manualWeight":48,"mainColor":49},223475,"zhe-zhi-hua-hui-tu-yi-ming-223475","折枝花卉图","此卷画折枝海棠、栀子、芙蓉、梅花共四幅，枝页繁茂，花儿怒放。花瓣、花页用勾勒填色法。花之娇态、页之正反和明暗表现得恰到好处。图中用笔缜密严谨，但工而不板，设色艳而不俗。第一段海棠树干上署有「赵昌」二字款，从字迹、画风分析，此款伪，实为当时高手所作。画面钤有「乾隆御览之宝」、「嘉庆御览之宝」、「宣统御览之宝」等印玺。曾经陈自明、清内府收藏。不见著録。",[7,23,24,25,2042,28,27,22687,84,402,369,759,263],"折枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e760018d01b4d8788990c09188ef3fe.jpg","每段49.2x77.6cm",[],{"id":22692,"slug":22693,"title":22694,"dynasty":76,"author":22695,"museum":20,"description":22696,"tags":22697,"thumbUrl":22699,"material":841,"size":22700,"collection":139,"collections":22701,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},223280,"ping-an-ru-yi-tu-yong-rong-223280","平安如意图","永瑢","该图有乾隆御书七绝一首，题跋恭呈孝圣太后。设色画松、梅、茶花、瓶、如意等，寓意“平安如意”，乾隆用以进献其母，表示吉祥和祝福。\n该画以淡墨干笔勾勒花瓶，设色淡雅，颇具文人雅趣。",[7,23,27,400,225,263,8871,1293,1712,22698,1629,759],"如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fe051adda6e8cbfcf05822d916be9c.jpg","91cmx34.7cm",[],{"id":22703,"slug":22704,"title":10657,"dynasty":76,"author":22705,"museum":101,"description":22706,"tags":22707,"thumbUrl":22708,"material":22709,"size":22710,"collection":181,"collections":22711,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[7,23,24,25,173,27,29,177,734,282,31,174,1365,35,558,1265,1617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[181,163],{"id":22713,"slug":22714,"title":22715,"dynasty":99,"author":1150,"museum":20,"description":22716,"tags":22717,"thumbUrl":22718,"material":1488,"size":22719,"collection":181,"collections":22720,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},222674,"ting-song-tu-zhou-xiang-sheng-mo-222674","听松图轴","本幅自题：“偶寻鹿迹来游此，坐听松风亦爽然。庚寅登高日寓江城西郊，喜此二言，骤笔补图。项圣谟。”钤“胥山樵项伯子”等印3方。“庚寅”乃清顺治七年（1650年），项氏54岁。“登高”为重阳节之古俗。据题可知此图系项氏于顺治七年重阳节与友人登高时为吟得佳句而绘。\n作品画云崖雾涌，长松虬枝，高士临流吟赏。树石用笔浑厚沉着，人物线条圆秀朴拙，意境清旷高古，具项圣谟山水人物画的典型风貌。",[7,23,173,225,29,1365,106,558,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76a9e06e51c1074aa07a48f7d377c6c.jpg","纵138.5厘米，横60厘米",[181,163],{"id":22722,"slug":22723,"title":22724,"dynasty":99,"author":22725,"museum":206,"description":22726,"tags":22727,"thumbUrl":22728,"material":712,"size":22729,"collection":181,"collections":22730,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},222411,"shui-mian-wen-xiang-zhou-wen-cong-jian-222411","水面闻香轴","文从简","图绘荷塘一隅，圆盘状荷叶遮住水面，墨色浓郁，四周水草繁茂，三支荷花突颖而出，二支绽放，一支含苞待放，高处荷杆上一只翠鸟探头向水中望去，翠鸟红喙细长尖锐，全身毛发柔软整齐，神情活泼。",[7,23,225,27,28,136,137,370,314,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","106.8x43.8厘米",[181,163],{"id":22732,"slug":22733,"title":10190,"dynasty":99,"author":817,"museum":5521,"description":10191,"tags":22734,"thumbUrl":22735,"material":699,"size":10194,"collection":328,"collections":22736,"showCount":142,"zanCount":2209,"manualWeight":48,"mainColor":94},222000,"teng-wang-ge-xu-wen-zheng-ming-222000",[7,25,622,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b095c13f4a79bfda9cd3f00c324864.jpg",[328],{"id":22738,"slug":22739,"title":22740,"dynasty":99,"author":817,"museum":583,"description":3629,"tags":22741,"thumbUrl":22742,"material":573,"size":22743,"collection":181,"collections":22744,"showCount":142,"zanCount":1337,"manualWeight":48,"mainColor":49},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷",[7,23,24,25,27,29,178,86,177,28,557,31,107,108,109,174,175,266,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[181,45],{"id":22746,"slug":22747,"title":22748,"dynasty":189,"author":2996,"museum":20,"description":22749,"tags":22750,"thumbUrl":22751,"material":1142,"size":22752,"collection":163,"collections":22753,"showCount":142,"zanCount":2209,"manualWeight":48,"mainColor":49},221814,"shuang-gou-zhu-tu-li-kan-221814","双钩竹图","李衎（1245-1320），字仲宾，号息斋道人，蓟丘（今北京）人。皇庆元年（1312年）为吏部尚书，拜集贤殿大学士，与赵孟頫相友善。死后追封蓟国公，谥文简。善画竹，墨竹初师王庭筠，继师文同，青绿设色师李颇。",[7,209,23,24,225,21485,28,226,229,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53499e6ca3eee6c531a56818fa98b16c.jpg","纵185.5cm，横153.7cm",[163,1896],{"id":22755,"slug":22756,"title":22757,"dynasty":18,"author":278,"museum":1406,"description":22758,"tags":22759,"thumbUrl":22760,"material":699,"size":22761,"collection":42,"collections":22762,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[7,23,24,25,173,177,29,34,558,37,467,734,282,229,1422,175,266,1423,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[42,181,163],{"id":22764,"slug":22765,"title":3176,"dynasty":18,"author":3177,"museum":20,"description":22766,"tags":22767,"thumbUrl":22768,"material":40,"size":22769,"collection":139,"collections":22770,"showCount":142,"zanCount":1337,"manualWeight":48,"mainColor":94},221676,"zhao-ling-liu-jun-tu-zhao-lin-221676","此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[7,23,24,25,27,28,150,106,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93242b603674493d0c3b514b8339e19.jpg","纵27.4厘米，横444.9厘米",[],{"id":22772,"slug":22773,"title":22774,"dynasty":18,"author":5270,"museum":20,"description":22775,"tags":22776,"thumbUrl":22777,"material":40,"size":22778,"collection":42,"collections":22779,"showCount":142,"zanCount":2209,"manualWeight":48,"mainColor":49},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[7,23,24,25,244,27,178,86,106,107,34,113,29,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[42,181,45],{"id":22781,"slug":22782,"title":22783,"dynasty":54,"author":8342,"museum":56,"description":22784,"tags":22785,"thumbUrl":22786,"material":699,"size":139,"collection":328,"collections":22787,"showCount":142,"zanCount":1337,"manualWeight":48,"mainColor":94},221107,"qian-zi-wen-quan-juan-ou-yang-xun-221107","千字文全卷","《千字文》为南北朝时周兴嗣编纂，全文共1000字，四字成句，对仗工整，文句平白如话，易诵易记，是中国最重要的蒙学教材之一，并译有多语种传于海外。\n自《千字文》出，历代书家无有例外，必常年书写，终生不倦。据载，隋智永法师所书真草《千字文》800册，分送于当时浙东诸寺。又如赵孟頫、文徵明等书家一生所书《千字文》无数，无不尽思其妙，更有两体、四体、六体不同风貌。《千字文为》为历代书家所重，多做日常必修。近有于右任、王蘧常、黄宾虹、沈尹默等《千字文》作品名世。可见，《千字文》不该为当代所轻。\n《千字文》不仅以古代蒙学作为中国传统文化内容之一再提及，同时作为书法当今常规书写题材，都有着一定的意义。此系列专题意在飨有所好，若勤而常习，自有裨益。",[7,86,621,25,24,263,622,8289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62dd6476b0650a40a9ab1d2aee27b171.jpg",[328],{"id":22789,"slug":22790,"title":22791,"dynasty":99,"author":2494,"museum":311,"description":22792,"tags":22793,"thumbUrl":22797,"material":22798,"size":22799,"collection":328,"collections":22800,"showCount":142,"zanCount":2209,"manualWeight":48,"mainColor":94},220966,"tao-yuan-ming-yin-jiu-shi-si-shou-juan-dong-qi-chang-220966","陶渊明饮酒诗四首卷","陶渊明对于后世书法家的影响不可谓不深远。明代的书陶者以“吴中三家”祝允明、文徵明、王宠的成就为最高，但在现存的针对“吴中三家”的研究文献中，对于王宠的研究为最少，论及陶渊明于王宠之影响者更少。在笔者看来，王宠书法承祝、文二家而自出机杼，书法中的禅趣古意实则为三家中最高者，实则获陶渊明之精髓。而随后的董其昌更是在理论的高度吸收了陶渊明的思想，提倡平淡率真的书法品格，对后世产生了巨大影响。但以往对董其昌与陶渊明关系的分析又多浮于表面，多数仅就意象、风格之相似或文辞用典的使用做文章。笔者旨在通过考查王宠、董其昌二人的书法、书论，来进一步阐述陶渊明对于中国文化的巨大影响。",[7,86,178,25,407,734,370,403,928,22794,22795,22796,9573,7120,265,17276],"霜","日夕","杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa855cec2eb1d059b8471f7fba71c89f4.jpg","行草","25x269厘米",[328],{"id":22802,"slug":22803,"title":22804,"dynasty":99,"author":2494,"museum":206,"description":22805,"tags":22806,"thumbUrl":22807,"material":712,"size":22808,"collection":181,"collections":22809,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[7,23,24,173,29,177,105,86,178,263,108,109,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[181,163],{"id":22811,"slug":22812,"title":22813,"dynasty":99,"author":10799,"museum":7087,"description":22814,"tags":22815,"thumbUrl":22816,"material":22817,"size":22818,"collection":90,"collections":22819,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":139},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[7,23,24,173,400,225,83,808,266,865,229,926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 cm",[90],{"id":22821,"slug":22822,"title":22823,"dynasty":949,"author":22824,"museum":10667,"description":22825,"tags":22826,"thumbUrl":22827,"material":139,"size":139,"collection":139,"collections":22828,"showCount":142,"zanCount":2209,"manualWeight":48,"mainColor":94},220485,"du-shu-shi-nv-lin-feng-mian-220485","读书仕女","林风眠","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[7,23,27,173,106,59,228,405,63,65,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff110702a58344acdddb690c44d20b44c.jpg",[],{"id":22830,"slug":22831,"title":460,"dynasty":76,"author":22832,"museum":101,"description":22833,"tags":22834,"thumbUrl":22835,"material":409,"size":22836,"collection":181,"collections":22837,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},220009,"xi-shan-xing-lv-tu-liu-yu-220009","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[7,23,24,25,173,177,29,108,109,174,175,266,866,107,466,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[181],{"id":22839,"slug":22840,"title":22841,"dynasty":76,"author":278,"museum":206,"description":22842,"tags":22843,"thumbUrl":22844,"material":88,"size":22845,"collection":90,"collections":22846,"showCount":142,"zanCount":2209,"manualWeight":48,"mainColor":94},216208,"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 是一件佚名的清朝时期的著名画作。这幅画描绘了一匹神骏的马，看起来非常生动和真实。据说这幅画是宣宗本人亲笔题写的，因此得名。宣宗（生于1711年，卒于1735年）是清朝乾隆皇帝的第三个儿子，在位期间，他对文化艺术有着浓厚的兴趣。这幅画被认为是宣宗对艺术的贡献之一，同时也是清朝时期的艺术瑰宝。",[7,23,24,27,28,150,808,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5818583a57e5269ba4a314a5f27b2ed.jpg","292.6x257.3cm",[90],{"id":22848,"slug":22849,"title":22850,"dynasty":99,"author":22851,"museum":206,"description":22852,"tags":22853,"thumbUrl":22854,"material":409,"size":22855,"collection":328,"collections":22856,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},214228,"cao-shu-wu-yan-lian-xu-guang-zuo-214228","草书五言联","许光祚","许光祚是明朝时期的一位著名草书家。他的草书五言联（五言绝句）是他的代表作之一。五言绝句是一种中国文学体裁，由五个五言诗组成。每一行均为五个字，共十行，句尾不须规定韵脚。五言绝句常被用于写诗，也可以用来写论文、散文等。许光祚的草书五言联被认为是其代表作之一，以其优美的笔法和优秀的构思著称。",[7,86,2570,7024,173,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e52251aeb0efb31a0c91c6b12d432.jpg","150.9x29.9",[328],{"id":22858,"slug":22859,"title":22860,"dynasty":204,"author":2585,"museum":311,"description":22861,"tags":22862,"thumbUrl":22864,"material":2164,"size":2165,"collection":139,"collections":22865,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":49},289926,"xue-tu-ju-ran-289926","雪图","其画面分为三个层次，组成一个硕头小脚“之”字。上层双峰并立，左低右高，危岩耸立，白雪皑皑，令人生畏；眼恋意留，不敢攀附。雪峰之上，古木郁郁，生机勃勃。特别是锯齿状的岩裂，触目惊心，将北方的雪映衬得更加雄浑、霸气。中层雪景呈斜倚之势漫漶开来，楼阁深入，分布有别；古树对峙，雪路茫然；骑者行于山径之上，左顾右盼，两岸风光引人入胜。它恰好将近景生动地连接起来，苍松如帘，层次分明却又浑然一体。仿佛听见覆雪之下，冬泉泠泠；雪压松枝，不时跌落，飒飒有声。",[7,209,23,24,29,225,173,177,7577,22863,107,2019,263],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d1b6444505baf420412d317f53a4fb.jpg",[],59,{"id":22868,"slug":22869,"title":12110,"dynasty":18,"author":13876,"museum":311,"description":22870,"tags":22871,"thumbUrl":22873,"material":2164,"size":2165,"collection":139,"collections":22874,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":49},289105,"chi-bi-tu-yang-shi-xian-289105","宫廷画家杨士贤根据苏轼《赤壁赋》创作《前赤壁图》，亦从一个角度看出文人画对宫廷绘画审美观念的影响，文人画的某些价值、观念和精神内容已经不可避免影响到了中国绘画的各个方面，并作为后世中国画的主要特色、主导画风出现在历史的视野之中。",[7,209,23,24,25,29,173,177,1079,10876,10895,174,22872],"赤壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ec93b40bc54ec26757c2c3d518075.jpg",[],{"id":22876,"slug":22877,"title":4215,"dynasty":18,"author":1699,"museum":311,"description":22878,"tags":22879,"thumbUrl":22881,"material":2164,"size":2165,"collection":139,"collections":22882,"showCount":22866,"zanCount":1337,"manualWeight":48,"mainColor":49},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[7,209,23,25,24,27,28,106,29,108,109,176,5174,403,806,84,5187,9298,22880,263],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":22884,"slug":22885,"title":22886,"dynasty":1483,"author":22887,"museum":311,"description":22888,"tags":22889,"thumbUrl":22890,"material":2164,"size":2165,"collection":139,"collections":22891,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},288066,"zhong-lang-tie-xie-an-288066","中郎帖","谢安","《中郎帖》是传为东晋人谢安书写的一封报丧书信，信中告知中郎突然去世的消息，同时表达了自己内心痛苦不堪、难以忍受的情感。\n《中郎帖》又称《八月五日帖》。此帖有“德寿”玺印，为南宋高宗之印（高宗赵构做太上皇时曾退居德寿殿），另据此帖纸、墨等判断，可确认它为南宋绍兴御书院中人所临摹的古帖，虽然不是谢安的真迹，依然宝贵。\n在南宋，由于高宗以来历代皇帝对二王及晋人书的嗜好，上行下效，使南宋书风充满古雅萧散的气质。此帖行笔圆转流畅，笔法纯熟，具有典雅丰腴、气度雍容的特点。",[7,86,178,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01a21dca3941d610e11a94e8d446ca5.jpg",[],{"id":22893,"slug":22894,"title":5877,"dynasty":18,"author":5878,"museum":311,"description":22895,"tags":22896,"thumbUrl":22897,"material":2164,"size":2165,"collection":139,"collections":22898,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":49},287454,"qiu-ting-xi-ying-tu-su-han-chen-287454","《秋庭戏婴图》以细腻的笔法，描绘两个锦衣孩童在庭院玩着一种推枣磨的游戏。兄妹两人无论从头发、眉目，衣饰，都精心刻画，丝染兼备，而且变化极为丰富，以长而圆润的线条，画出衣纹，再仔细点染衣服上的花纹，不仅画出质料的柔软细致，更赋予衣服华丽的质感，这些细微的处理，使得子孩丰润、柔软、细致的模样，跃然于纸上。",[7,23,209,28,27,106,9044,404,229,115,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414a0dd806bab4abffe5b1350464294b.jpg",[],{"id":22900,"slug":22901,"title":5415,"dynasty":18,"author":676,"museum":311,"description":22902,"tags":22903,"thumbUrl":22904,"material":2164,"size":2165,"collection":139,"collections":22905,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},230972,"wu-ma-tu-li-gong-lin-230972","此图画的是宋朝元佑初年天驷监中的五匹西域名马，马旁各有一名奚官或圉人执辔引领。画中无作者款印，前4马后，各有黄庭坚签题的马名、产地、年岁、尺寸，卷末有黄庭坚“李公麟作”题跋：这些由西域诸国进贡的骏马，马名依序是“凤头骢”、“锦膊骢”、“好头赤”、“照夜白”，第五匹马佚名，经考证可能为“满川花”。画中的5位马官，两位是汉人，其余的为外族，形貌、服饰、神情各不相同，但在气质上却有着微妙的类似之处。",[7,209,23,24,25,244,27,106,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec0ca19437f2221e38f8bcfaa50fb4.jpg",[],{"id":22907,"slug":22908,"title":22909,"dynasty":277,"author":278,"museum":311,"description":22910,"tags":22911,"thumbUrl":22912,"material":2164,"size":2165,"collection":139,"collections":22913,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":49},230838,"cai-hui-si-bi-ru-yi-lun-guan-yin-xiang-yi-ming-230838","彩绘四臂如意轮观音像","此作以自在坐姿塑法相，菩萨面容沉静端严，宝冠缀饰华贵，璎珞环身尽显庄严。四臂各司其职，主臂托腮思惟，余臂持印握器，将悲悯自在的神韵相融。设色古雅厚重，石青、朱砂晕染出衣袂层次，头光环叠晕彩，衬出清寂高华。岁月留痕的斑驳残损，更添沧桑质感，圆转线条勾勒出舒展灵动的体态，尽显古雅释画的典雅法度，静穆间裹挟着慈悲意趣，是兼具宗教性与艺术性的珍贵遗存。",[7,23,24,27,243,106,28,1554,263,65,8041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca1f62971c665b5f5fb84f347665e2f.jpg",[],{"id":22915,"slug":22916,"title":22917,"dynasty":99,"author":10906,"museum":311,"description":22918,"tags":22919,"thumbUrl":22920,"material":139,"size":139,"collection":139,"collections":22921,"showCount":22866,"zanCount":1104,"manualWeight":48,"mainColor":94},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 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一六五沈曾植行书七绝",[7,23,24,209,225,27,28,177,29,106,150,175,1423,866,403,1775,734,558,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":22923,"slug":22924,"title":17556,"dynasty":99,"author":22365,"museum":206,"description":22925,"tags":22926,"thumbUrl":22927,"material":67,"size":139,"collection":139,"collections":22928,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},228368,"sou-shan-tu-juan-li-zai-228368","苍松躯干虬结嶙峋，疤节错生尽显古拙雄健，松针攒簇如戟，苍劲之意溢出纸面。左侧群妖姿态怪诞灵动，或疾奔呼号，或惶然疾走，铁线白描勾勒出魑魅惊惶奔逃的身形，衣袂毛发皆带着仓皇动感，将神异妖物的惶遽神态刻画入微。\n\n淡墨晕染烘托出山林幽寂的荒蛮底色，笔力劲挺洗练，虚实相生间，搜山捉妖的紧张氛围跃然纸上，把这场神异搜山的诡谲张力诠释得淋漓尽致，尽显笔底风神，将山野间的奇幻荒怪之气铺陈开来。",[7,23,25,244,173,106,808,866,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F243e48218103e4f5026b059cf667cf60.jpg",[],{"id":22930,"slug":22931,"title":10846,"dynasty":189,"author":3051,"museum":311,"description":22932,"tags":22933,"thumbUrl":22936,"material":139,"size":139,"collection":139,"collections":22937,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":49},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[7,23,24,25,28,27,83,940,284,1647,2547,84,512,22934,2267,607,22935],"杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],{"id":22939,"slug":22940,"title":22941,"dynasty":76,"author":4406,"museum":311,"description":22942,"tags":22943,"thumbUrl":22944,"material":2164,"size":2165,"collection":139,"collections":22945,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":94},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[7,209,23,24,1352,27,173,177,29,174,266,34,770,4272,1265,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],{"id":22947,"slug":22948,"title":22949,"dynasty":99,"author":278,"museum":206,"description":22950,"tags":22951,"thumbUrl":22952,"material":573,"size":22953,"collection":139,"collections":22954,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":49},223490,"ming-tai-zu-zhu-yuan-zhang-zuo-xiang-tu-zhou-yi-ming-223490","明太祖朱元璋坐像图轴","明太祖（1368－1398在位），明朝開國皇帝，姓朱，名元璋，年號洪武，濠州 (今安徽鳳陽)人。幼孤，入皇覺寺為僧，元末群雄並起，有雄才，以布衣成帝業。\n絹地彩繪太祖坐像，筆筆工整，風格嚴謹，幅面巨大，氣派堂皇。畫中皇帝頭戴烏紗折角向上巾，身著圓領織金盤龍皇袍，端坐金扶手椅，容貌豐偉，鬚短而黑，當值盛年。",[7,23,24,225,939,28,27,106,433,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa200f5ca4dc4d864c1d4c5a8a568a941.jpg","137x84",[],{"id":22956,"slug":22957,"title":22958,"dynasty":76,"author":22959,"museum":206,"description":22960,"tags":22961,"thumbUrl":22962,"material":712,"size":22963,"collection":181,"collections":22964,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","董邦达","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[7,23,24,25,27,29,177,104,263,107,108,109,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[181],{"id":22966,"slug":22967,"title":22968,"dynasty":76,"author":1473,"museum":311,"description":22969,"tags":22970,"thumbUrl":22971,"material":699,"size":22972,"collection":90,"collections":22973,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},222710,"an-ma-tu-jin-nong-222710","鞍马图","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[7,23,24,225,173,27,106,150,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[90,45],{"id":22975,"slug":22976,"title":22977,"dynasty":76,"author":4192,"museum":56,"description":22978,"tags":22979,"thumbUrl":22981,"material":22982,"size":22983,"collection":181,"collections":22984,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":49},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[7,209,23,24,225,173,22980,29,109,34,176,175],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[181,163],{"id":22986,"slug":22987,"title":22988,"dynasty":99,"author":100,"museum":20,"description":22989,"tags":22990,"thumbUrl":22991,"material":40,"size":22992,"collection":181,"collections":22993,"showCount":22866,"zanCount":1337,"manualWeight":48,"mainColor":49},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[7,209,23,24,225,28,27,104,106,59,1205,107,115,210,384,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[181,45],{"id":22995,"slug":22996,"title":22997,"dynasty":99,"author":16420,"museum":20,"description":22998,"tags":22999,"thumbUrl":23000,"material":23001,"size":23002,"collection":163,"collections":23003,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},222167,"qi-shui-qing-feng-tu-xia-chang-222167","淇水清风图","夏昶（1388至1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，昆山（今江苏昆山）人。昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n有“夏卿一个竹，西凉十锭金”之谣。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。",[7,23,24,25,173,1163,86,263,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1e1ca00868d871f0471a4a53755cd6.jpg","纸本设","纵27.6CM 横98CM",[163],{"id":23005,"slug":23006,"title":23007,"dynasty":99,"author":4796,"museum":206,"description":23008,"tags":23009,"thumbUrl":23011,"material":573,"size":23012,"collection":90,"collections":23013,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":49},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[7,23,24,209,225,28,27,83,226,62,370,229,23010],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[90,45],{"id":23015,"slug":23016,"title":10315,"dynasty":189,"author":4438,"museum":206,"description":23017,"tags":23018,"thumbUrl":23020,"material":712,"size":23021,"collection":181,"collections":23022,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":94},221752,"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[7,209,23,24,225,173,27,177,29,2019,1776,34,35,23019,31,1267,176,11890,3711],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[181,163],{"id":23024,"slug":23025,"title":23026,"dynasty":18,"author":19930,"museum":9826,"description":23027,"tags":23028,"thumbUrl":23029,"material":699,"size":23030,"collection":42,"collections":23031,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},221449,"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[7,23,25,244,173,106,2161,150,2508,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米",[42,181,45],{"id":23033,"slug":23034,"title":23035,"dynasty":18,"author":676,"museum":9826,"description":23036,"tags":23037,"thumbUrl":23038,"material":40,"size":23039,"collection":42,"collections":23040,"showCount":22866,"zanCount":1337,"manualWeight":48,"mainColor":49},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[7,209,23,24,25,244,173,27,106,29,34,35,174,109,175,178,621,407,226,266,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[42,44,163],{"id":23042,"slug":23043,"title":23044,"dynasty":18,"author":5878,"museum":206,"description":23045,"tags":23046,"thumbUrl":23047,"material":573,"size":23048,"collection":42,"collections":23049,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":49},221354,"kai-tai-tu-zhou-su-han-chen-221354","开泰图轴","画中的孩童欢乐地骑在一只大羊背上，身边围绕着各色大小造型不一、矫健欢腾的小羊，神气十足。据了解，北宋时期的日常生活中，羊并非骑乘的动物，但画中白羊被配上如神骏宝象般的鞍辔，散发着非同一般的宫廷贵气。群羊在草地中或饮，或食，或奔走，或徜徉，悠然自得的环绕在童子身边。画面背后还以长松梅花做背景，点有一双喜鹊，意取“喜上眉梢”。童子神采飞扬，群羊热闹欢腾，整幅画面充满了一派富丽祥和之气。那白胖小子丰润柔软的模样跃然于纸上，栩栩如生，令人心生爱怜。",[7,209,23,24,225,27,28,106,808,6545,384,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0dcb740080929d847e81c2fd0a8fd4.jpg","纵106厘米，横52厘米",[42,44,45],{"id":23051,"slug":23052,"title":23053,"dynasty":76,"author":77,"museum":206,"description":23054,"tags":23055,"thumbUrl":23056,"material":712,"size":23057,"collection":90,"collections":23058,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":255},220982,"wu-qing-tu-zhou-yun-shou-ping-220982","五清图轴","恽寿平为人敦厚，个性孤介洒脱，不愿应试科举，以卖画为生，过着与世无争的日子，气节和人品相当受人敬重，而他的画也如他的人品一样，具有高洁不流俗的风格。五清指的是松、竹、梅及水、月。松柏经霜雪而不凋谢，竹子以其有节空心，代表君子的节操与虚心；梅花不畏风霜，愈冷愈开花，是品格坚贞的写照；而水与明月更是清澈透明、洁白无瑕的象征，所以合称「五清」，自古以来就常被用来比喻君子的德行。君子才德兼备，有高风亮节的情操，和「贫贱不能移，富贵不能屈」的志节，是社会上值得尊敬的人。这幅画，恽寿平以五清来代表君子，构图简单，分为三段，上段画老松由右横斜至左，明月高挂当空，中段则有梅花盛开，伴着青翠绿竹；下段流水潺潺。款识「辛酉初秋南田寿平制」，是恽寿平四十九岁的作品。笔墨多变，有的墨色饱含水份，有的枯干焦浓。有的先湿后枯，先浓后淡，墨趣丰饶。用笔温文柔和，呈现一种平和宁静的气氛，就像他所敬重的谦谦君子一般",[7,23,225,27,403,402,226,385,285,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f71bba414a2c44d511dc3af19b001.jpg","86.1x38.4",[90,45],{"id":23060,"slug":23061,"title":23062,"dynasty":189,"author":645,"museum":101,"description":23063,"tags":23064,"thumbUrl":23065,"material":699,"size":23066,"collection":328,"collections":23067,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},220860,"wang-xi-zhi-yi-shi-tie-zhao-meng-fu-220860","王羲之轶事帖","赵孟頫《王羲之轶事帖》，又名《右军四事帖》、《王羲之书事卷》等，书于元代大德年间，是赵氏传世作品中的精品佳作。纸本行书，帖芯24.4×117cm，全卷含题跋26.5×851.2cm，原为美国顾洛阜旧藏，现藏于纽约大都会博物馆。\n《羲之四事帖》书风，以《阁帖》中王羲之书和《兰亭序》为主，兼以《十七帖》笔意，布局精严。赵孟頫学王羲之书，可谓“前无古人，后无来者”。赵孟頫的唯美主义书法整整影响了元、明、清三代，明人何良俊《四友斋丛说》中曾云：“上下五百年，纵横一万里，举无此书”。\n释文：羲之书在始未有奇殊，不胜庾翼、郗愔，迨其末年，乃造其极。尝以章草答庾亮，亮以示翼，翼叹服，因与羲之书云：“吾昔有伯英章草书十纸，过江亡失，常痛妙迹永绝，忽见足下答家兄书，焕若神明，顿还旧观。”\n羲之罢会稽，住蕺山下。旦见一老姥，把十许六角竹扇出市。王聊问：“比欲货耶，一枚几钱？”答云：“二十许。”右军取笔书扇，扇五字。姥大怅惋云：“老妇（妇字原缺，据明抄本补）举家朝餐，俱仰于此，云何书坏。”王答曰：“无所损，但道是王右军书字，请一百。”既入市，人竞市之。后数日，复以数扇来诣，请更书，王笑而不答。\n羲之曾自书表与穆帝，专精任意。帝乃令索纸色类，长短阔狭，与王表相似。使张翼写效，一毫不异，乃题后答之。羲之初不觉，后更相看，乃叹曰：“小人乱真乃尔。”羲之性好鹅，山阳昙忀村有一道士养好者十余。王清旦乘小船，故往看之。意大愿乐，乃告求市易，道士不与。百方譬说，不能得之。道士言性好道，久欲写河上公老子，缣素早办，而无人能书。府若能自书老子（老子原作屈，据明抄本改）《道德》各两章，便合群以奉。羲之停半日，为写毕。笼鹅而归。",[7,25,86,178,622,263,1115,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815b7aa9a62e80c21a0150d35e609d27.jpg","帖芯24.4×117cm，全卷含题跋26.5×851.2cm",[328],{"id":23069,"slug":23070,"title":23071,"dynasty":189,"author":1442,"museum":222,"description":23072,"tags":23073,"thumbUrl":23074,"material":699,"size":23075,"collection":163,"collections":23076,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},220805,"yun-shi-qiao-ke-tu-zhou-ni-zan-220805","筠石乔柯图轴","此画用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。树杆上挂满了细繁的藤蔓垂条，图中的篁竹属于倪瓒墨竹中叶尖向上的新篁画法，颇见功力。画面一如倪瓒一贯呈现的风格：构图简洁，干笔皴檫，意境清远萧疏。",[7,23,225,173,177,226,385,384,1423,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4ba73df5db160da5171569d0a459b0.jpg","横67.3厘米，横36.8厘米",[163,1896],{"id":23078,"slug":23079,"title":23080,"dynasty":99,"author":278,"museum":6182,"description":23081,"tags":23082,"thumbUrl":23083,"material":123,"size":23084,"collection":90,"collections":23085,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":49},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[7,23,209,24,28,27,402,226,176,370,11111,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 × 93.3",[90,45],{"id":23087,"slug":23088,"title":23089,"dynasty":18,"author":278,"museum":677,"description":23090,"tags":23091,"thumbUrl":23092,"material":409,"size":139,"collection":44,"collections":23093,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":49},219587,"hu-fa-tian-wang-tu-yi-ming-219587","护法天王图","全作以长卷铺陈浩荡群像，排布疏密有致。左侧雅士云集，宽袍博带，神态或清隽沉凝，或温雅端方，铁线游丝般的线条勾勒出出尘风神。右侧融世俗百态，驯虎、舆车错落，仆役走卒情态鲜活，雅俗相映，消解了仙圣绘的疏离感。\n\n绢面虽经岁月晕染，浅淡古雅的设色依旧耐看，劲挺流转的线描尽显白描功底。衣袂飘举间将清贵气度与市井意趣揉为一体，在庄严仪轨之中藏着鲜活烟火，尽显中古人物画的叙事张力与笔墨意韵。",[7,23,24,25,243,244,27,28,106,8436,808,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac3273b94acfdc6de56954e04e0abfb.jpg",[44],{"id":23095,"slug":23096,"title":23097,"dynasty":18,"author":1395,"museum":206,"description":23098,"tags":23099,"thumbUrl":23100,"material":123,"size":23101,"collection":42,"collections":23102,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},218968,"da-jiang-fu-yu-tu-li-tang-218968","大江浮玉图","图片显示的是一条大河，波涛汹涌，两艘河船一起停泊在附近的码头上。有一些岛屿升入河中，几块巨石与主山遥相呼应，而森林树木、寺庙和漂浮的人物被描绘得非常详细。其笔法与郭熙的《早春》相似，结构与徽宗的《溪山秋色》相似。它可能是郭熙在宣和、绍兴年间（1119-1162）制作的。",[7,23,24,173,29,177,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[42,181],{"id":23104,"slug":23105,"title":23106,"dynasty":18,"author":23107,"museum":1529,"description":23108,"tags":23109,"thumbUrl":23111,"material":123,"size":23112,"collection":139,"collections":23113,"showCount":22866,"zanCount":1104,"manualWeight":48,"mainColor":49},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","阎次平","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[7,209,23,24,25,173,28,177,151,106,18719,384,1322,1003,4218,8729,23110],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","35x99.7x4",[],{"id":23115,"slug":23116,"title":23117,"dynasty":18,"author":2555,"museum":486,"description":23118,"tags":23119,"thumbUrl":23120,"material":123,"size":23121,"collection":139,"collections":23122,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":629},218604,"wu-bai-luo-han-zhi-zhu-lin-zhi-chen-tu-zhou-ji-chang-218604","五百罗汉之竹林致琛图","这幅画描绘了三个罗汉坐在云雾和绿竹之间，两个罗汉侧身站立，俯视着他们，一个罗汉手里拿着珊瑚，等待着接待他们。",[7,209,23,24,27,28,243,106,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb680b35d1ebd1ff03c465bd75e3c1.jpg","113.0x51.5",[],{"id":23124,"slug":23125,"title":23126,"dynasty":18,"author":278,"museum":311,"description":23127,"tags":23128,"thumbUrl":23129,"material":123,"size":23130,"collection":44,"collections":23131,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":49},218446,"qiu-lin-mu-tong-tu-yi-ming-218446","秋林牧童图","两个小孩子在树下的平坦石坡上玩耍，两只山羊在右下方的田地里觅食，处处显示出乡村的平静和轻松气氛。",[7,23,808,29,734,282,384,27,28,225,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cdd3ff23c4835631b4aef170505acb.jpg","88x49",[44],{"id":23133,"slug":23134,"title":1330,"dynasty":99,"author":23135,"museum":11776,"description":23136,"tags":23137,"thumbUrl":23138,"material":409,"size":23139,"collection":181,"collections":23140,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},218002,"zhu-shi-tu-chen-jia-yan-218002","陈嘉言","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[7,23,24,225,173,177,226,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[181,90],{"id":23142,"slug":23143,"title":23144,"dynasty":18,"author":2555,"museum":486,"description":23145,"tags":23146,"thumbUrl":23147,"material":123,"size":2559,"collection":139,"collections":23148,"showCount":22866,"zanCount":2209,"manualWeight":48,"mainColor":629},217004,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217004","五百罗汉之观舍利光图","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[7,23,24,225,28,27,243,106,29,176,466,34,6728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e2fafd5ebc853e0a35328f40becb95.jpg",[],{"id":23150,"slug":23151,"title":23152,"dynasty":76,"author":221,"museum":447,"description":23153,"tags":23154,"thumbUrl":23155,"material":88,"size":139,"collection":44,"collections":23156,"showCount":22866,"zanCount":48,"manualWeight":48,"mainColor":94},214995,"ren-wu-tu-ce-gu-jian-long-214995","人物图册","画面中，红衣僧闲坐虎背，身姿随意舒展，似与猛虎相得甚欢；蓝衫僧侧卧于地，怀中抱持乐器，眉眼间尽是悠然惬意。那头猛虎虽轮廓雄健，却温顺如犬，伏身贴地，与僧人亲昵相伴，猛兽的凌厉全然化作柔和。笔墨运用细腻传神，衣袂线条流畅婉转，虎的毛发晕染层次分明，质感毕现。整幅画将人物的闲适、动物的温驯交织，营造出清逸恬淡的禅意氛围，仿佛能听见林间风声与隐约乐声，尽显传统绘画中笔墨的灵动与人文的温情。",[7,209,23,24,81,27,173,244,106,808,8436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1208ac2686fd778f7e364e29c9d2495.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该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[7,23,209,25,26,27,29,4121,1520,557,109,264,34,266,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],{"id":23174,"slug":23175,"title":23176,"dynasty":277,"author":278,"museum":311,"description":23177,"tags":23178,"thumbUrl":23179,"material":2164,"size":2165,"collection":139,"collections":23180,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":49},230792,"cai-hui-wu-dai-juan-hua-gong-yang-tu-yi-ming-230792","彩绘五代绢画供养图","此作分上下两重图景，上段佛境庄穆沉静，主尊安坐莲台，说法施印，二胁侍垂眸合掌随侍左右，线条劲挺匀净，设色沉凝古雅，晕染柔和晕开诸佛的端严宝相。下段供养人乌纱袍服，持炉躬身礼拜，神情恭谨内敛，笔触朴拙写实，精准描摹出士人的仪制风貌。\n画作以上下布局勾连神性与俗世，褪却的底色里仍藏着旧日鲜妍，将信仰的肃穆与世俗的敬畏相融，尽显佛绘神俗共生的独特意趣，兼具宗教价值与世俗审美意韵。",[7,23,67,27,106,243,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f833634d337b622021a4a78d357d12.jpg",[],{"id":23182,"slug":23183,"title":5228,"dynasty":18,"author":5229,"museum":311,"description":23184,"tags":23185,"thumbUrl":23189,"material":139,"size":139,"collection":139,"collections":23190,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":49},228050,"hua-niao-tu-ye-wang-xiao-228050","此作以柔枝海棠为景，两只白头翁栖于枝上，一昂首啁啾，一侧耳凝望，情态灵动鲜活。花瓣晕染细腻，粉白渐变柔和饱满，枝叶勾勒挺括，敷色雅致温润。禽鸟羽毛丝缕毕现，将绒羽蓬松质感描摹入微，工细笔触尽显精妙。整幅设色清逸柔婉，留白妥帖悠远，搭配题字更添文趣，将春日花鸟的缱绻生机定格绢上，清雅静谧里藏着灵动意趣，尽显雅致细腻的古典审美意趣。",[7,23,24,209,28,27,83,1353,23186,1241,23187,23188],"白头翁","清雅","灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97693085cc822f814fba371da1aa941e.jpg",[],{"id":23192,"slug":23193,"title":23194,"dynasty":18,"author":1419,"museum":311,"description":23195,"tags":23196,"thumbUrl":23197,"material":139,"size":139,"collection":139,"collections":23198,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":49},227822,"jiang-yin-du-shu-tu-ye-ma-yuan-227822","江荫读书图页","此作用边角取景，绘就江天寥廓之境。淡墨晕染远山，隐现烟霭之中，愈显空濛悠远。近岸危崖虬曲，寒梅凝枝、丹枫缀艳，冷暖相映为萧索冬色添几分鲜活。板桥之上，二人围坐展卷，在幽寂江隅漫品诗书，闲雅意趣随江风漾开。\n笔意苍劲洗练，大片留白拓宽了江天之境，将冬日江隅的清寂与文人林下雅兴相融，尽显空灵隽秀的诗意之美。",[7,209,23,24,81,27,28,177,29,106,865,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2d753a9bb5372213332d31fe07b403.jpg",[],{"id":23200,"slug":23201,"title":23202,"dynasty":18,"author":446,"museum":311,"description":23203,"tags":23204,"thumbUrl":23205,"material":139,"size":139,"collection":139,"collections":23206,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":49},227514,"ting-pu-tu-mi-fei-227514","听瀑图","北宋·米芾《听瀑图》(传)，纸本，42x35厘米，美国弗利尔美术馆藏。世已无米芾画迹传世，应该是明、清好事者按记载中的米芾画法为蓝本而进行的臆造之迹。\n\n元代以后，由苏轼（1037-1101）、米芾等人倡导的“文人画”审美趣味大为发展，并逐渐成为画坛主流，苏轼、米芾等人因首倡之功而备受推崇。一些“文人画”家和持“文人画”观点的理论家更是将米芾提升到画圣的高度。\n\n晚明大书画家、理论家董其昌（1555-1636）便极力推崇米芾，他说：“诗至少陵，书至鲁公，画至二米，古今之变，天下之能事毕矣。”在董其昌看来，米芾不仅是严格意义上的画家，而且还是一代宗师，画史地位是非常高的。\n\n董其昌在整个明清画坛的影响是毋庸置疑的，米芾因董其昌的极力推崇，在明清画坛上牢牢占据着重要地位。清书画鉴赏家卞永誉（1645-1712）评米芾画：“岂知南宫迥不群，一扫千古丹青尘。”显然，卞永誉也将米芾作为开宗立派的大家看待",[7,209,23,24,173,244,29,106,466,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b61a781aa7191005d890d7f6abbfaf4.jpg",[],{"id":23208,"slug":23209,"title":23210,"dynasty":18,"author":418,"museum":311,"description":23211,"tags":23212,"thumbUrl":23213,"material":139,"size":139,"collection":139,"collections":23214,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":49},227486,"zhu-ji-tu-li-zhou-zhao-ji-227486","竹鸡图立轴","赵佶（宋徽宗，1082年6月7日-1135年6月4日），出生于汴京（今河南开封），宋神宗第十一子，北宋第八位皇帝。\n\n赵佶在位期间追求奢靡、政治腐败、外交不力，以致民怨四起并埋下北宋靖康年间亡国的祸根。但赵佶在书法绘画等艺术领域天赋非凡，独创“瘦金体”书法，《芙蓉锦鸡图》《池塘秋晚图》等都是传世名作。靖康之变后赵佶被俘北上，1135年死于五国城，庙号徽宗。",[7,23,24,225,28,27,83,226,2801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cf431b3c0d996cb701c6e9c6a171b.jpg",[],{"id":23216,"slug":23217,"title":23218,"dynasty":76,"author":2924,"museum":311,"description":23219,"tags":23220,"thumbUrl":23221,"material":139,"size":139,"collection":139,"collections":23222,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":94},224370,"hua-hui-qi-shi-ce-shi-er-kai-10-ju-lian-224370","花卉奇石册-十二开-10","此作以灵秀湖石为主体，朴拙纹理自带幽古意趣。细茎挺出，嫩黄碎花娇俏垂曳，与苍朴湖石形成柔刚对照。石上豆娘静立，翅脉纤毫毕现，将小虫灵动之态尽致描摹。\n\n画中运用撞水撞粉技法，花叶水润鲜活，苔草以淡青晕染，与赭石湖石色调柔润相融，静中藏动，生机暗涌。全幅工写兼备，寥寥数笔便将庭院小景的恬然意趣捕捉，将草木生灵的幽微情态勾勒无遗，尽显写生精妙，满溢闲逸清雅的文人意韵。",[7,23,24,81,27,28,83,84,1724,940,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057086feec0f2550986e5d5e2c2e3f6a.jpg",[],{"id":23224,"slug":23225,"title":23226,"dynasty":189,"author":278,"museum":311,"description":23227,"tags":23228,"thumbUrl":23229,"material":2164,"size":2165,"collection":139,"collections":23230,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":629},223644,"xu-kong-cang-pu-sa-xiang-2-yi-ming-223644","虚空藏菩萨像2","虚空藏（梵语 ākāśagarbha，音译啊迦舍嘎赫婆）菩萨摩诃萨，密号库藏金刚。汉译又作尊上虚空孕菩萨摩诃萨、虚空库菩萨摩诃萨、虚空光菩萨摩诃萨，是中国大乘佛教八大菩萨摩诃萨之一。\n虚空藏菩萨摩诃萨在无量菩萨中专主智慧、功德和财富。因尊上智慧、功德、财富如虚空一样广阔无边，并能满足世间一切如法持戒者的善求善愿，使无量无边众生获得无穷利益，故有此虚空藏圣名。\n虚空藏菩萨具有赐予利乐的力量。“藏”表示无限福德智慧，“虚空”表广大，《大方等大集经》指出：虚空藏如同富翁，相应困苦众生，只要到她面前，即会施予救济。因此，虚空藏菩萨是以济度众生为乐的菩萨。",[7,209,23,24,4472,225,243,106,28,27,1554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ea3f19b6f9f690523f6b6e2e09ea73.jpg",[],{"id":23232,"slug":23233,"title":23234,"dynasty":76,"author":18846,"museum":311,"description":18847,"tags":23235,"thumbUrl":23236,"material":699,"size":139,"collection":139,"collections":23237,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":94},223263,"shu-fa-zhou-hong-yi-fa-shi-223263","书法轴",[7,86,225,621,243,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdaae1ac16db741762ddffa2749d8d99.jpg",[],{"id":23239,"slug":23240,"title":23241,"dynasty":76,"author":11591,"museum":20,"description":23242,"tags":23243,"thumbUrl":23244,"material":23245,"size":23246,"collection":181,"collections":23247,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":49},223136,"shi-wan-tu-ce-ren-xiong-223136","十万图册","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[7,23,24,81,27,26,29,177,176,34,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665e6202ad6aba5ebcf701093a7cb813.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[181],{"id":23249,"slug":23250,"title":23251,"dynasty":76,"author":336,"museum":206,"description":10745,"tags":23252,"thumbUrl":23255,"material":573,"size":10749,"collection":181,"collections":23256,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":49},222759,"shi-er-yue-ling-tu-11-yue-lang-shi-ning-222759","十二月令图（11月）",[7,23,28,27,106,107,34,176,115,23253,23254],"参禅","古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ec9adc0590d630722ea9245c07bfe.jpg",[181,45],{"id":23258,"slug":23259,"title":23260,"dynasty":76,"author":23261,"museum":523,"description":23262,"tags":23263,"thumbUrl":23264,"material":573,"size":23265,"collection":90,"collections":23266,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":49},222689,"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[7,209,23,24,225,28,27,83,2341,3203,558,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","纵101厘米，横40.5厘米",[90,45],{"id":23268,"slug":23269,"title":23270,"dynasty":99,"author":2242,"museum":260,"description":4480,"tags":23271,"thumbUrl":23273,"material":527,"size":4484,"collection":139,"collections":23274,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":94},222567,"hua-hui-tu-6-chen-chun-222567","花卉图6",[7,23,24,27,173,400,83,84,928,229,759,939,23272,9791],"花鸟写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68019c2e22e4fd3401f2575cba804984.jpg",[],{"id":23276,"slug":23277,"title":23278,"dynasty":99,"author":23279,"museum":20,"description":23280,"tags":23281,"thumbUrl":23282,"material":699,"size":23283,"collection":139,"collections":23284,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":94},222388,"mo-lan-tu-zhou-wen-peng-222388","墨兰图轴","文彭","图中以水墨画兰花两丛荆棘二枝。以渴笔淡写荆棘卷曲、兰叶舒畅之姿，并以水墨草点兰花偃仰、互相交织之状，节奏感强，和自题草书“月摇庭下珂，风递谷中香”融为一体。\n作者用水墨画土坡上兰花两丛，兰花正侧偃仰，均五办为则，如蝶起舞，或敞办盛开，或含苞待放，叶丛柔嫩舒展，十分俊爽。另有二枝荆棘，在丛兰间卷曲向上生长，与舒展的兰花交织在一起，产生和谐的节奏感，并和自题的草书“月摇庭下珂，风递谷中香”融为一体。\n兰、梅、竹、菊“四君子”是我国文人画的传统题材，落笔时，这四者可分可合，亦可单独成画幅，但都赋予对象以人格，象征高洁的品格和正直、坚韧、乐观等精神、具体说，兰为“王者之香”，画兰，须写其清雅幽香，洁身自好。文彭擅画兰、竹，此《兰花图》轴，是他的代表作之一。\n作者所画的兰花、叶子用笔自如，或粗或细，行笔住行顿挫有力，节奏感强，具有一种古拙、朴厚的趣味。所画荆棘，用笔具有一种内涵的力量，这种力量忽轻忽重，行笔的速度忽快忽慢，由此而产生的一种优美动人的节奏，所以在文氏笔下的荆棘表现出曲折向上，生意盎然的神态。所画的兰花，花以淡墨为办，浓墨点心，叶用笔流畅，显出临风飘动，活泼自然。画家将兰花与荆棘为伍，笔意贯穿，墨色停匀。土坡用简洁的干笔，侧锋皴擦，更见明快爽朗。此画作者以书法入画，故此画具有书家笔法的节奏、韵律，轻重徐疾、提按顿挫富有变化，文彭此图可谓诗书画契合无间，表现了文人画家的气质和神采，给人以艺术美的享受。",[7,23,24,225,173,406,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd67f08bd86808aad80c5ec02566e21c2.jpg","纵65厘米，横31．2厘米",[],{"id":23286,"slug":23287,"title":23288,"dynasty":99,"author":100,"museum":1666,"description":23289,"tags":23290,"thumbUrl":23291,"material":573,"size":23292,"collection":139,"collections":23293,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":94},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[7,23,24,1352,28,27,106,59,174,384,226,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],{"id":23295,"slug":23296,"title":23297,"dynasty":99,"author":100,"museum":206,"description":23298,"tags":23299,"thumbUrl":23300,"material":67,"size":139,"collection":139,"collections":23301,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":94},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[7,23,24,1352,28,27,29,226,227,34,770,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":23303,"slug":23304,"title":23305,"dynasty":99,"author":3908,"museum":206,"description":23306,"tags":23307,"thumbUrl":23308,"material":23309,"size":23310,"collection":90,"collections":23311,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":94},222179,"hua-hui-shan-mian-lu-zhi-222179","花卉扇面","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[7,23,24,209,1352,27,83,84,1906,853],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf89fa4fadd7ff6f66e547f02d3e913.jpg","泥金，纸本","纵18.3厘米， 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花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[7,23,24,173,244,81,106,865,298,263,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 厘米",[181,44],{"id":23331,"slug":23332,"title":23333,"dynasty":99,"author":23334,"museum":101,"description":23335,"tags":23336,"thumbUrl":23337,"material":841,"size":23338,"collection":181,"collections":23339,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":94},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[7,23,24,25,27,29,28,177,173,12102,107,108,109,175,266,176,34,37,106,1755,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[181,45],{"id":23341,"slug":23342,"title":23343,"dynasty":189,"author":23344,"museum":206,"description":23345,"tags":23346,"thumbUrl":23347,"material":27,"size":23348,"collection":90,"collections":23349,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":94},221743,"gu-he-yun-song-tu-zhou-ba-yan-bu-ha-221743","古壑云松图轴","巴颜布哈","该幅构景很突出，苍松高耸，峰岭出于云表。\n笔墨颇具文人画的趣味。\n【规格】该幅12242.2公分；全幅6公分 【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 巴颜布哈（生年不详，卒于公元一三五九年），元史列传作伯颜不花的斤。\n蒙古人，姓畏吾儿氏，高昌王的孙子。\n字苍巖，号苍崖。\n是元朝大书法家鲜于枢的外甥。\n作官至江东廉访副使。\n通晓音乐，以画龙出名。",[7,23,24,225,173,177,29,403,2279,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6532dd4672785d8ba523288a0bcec6ec.jpg","122x42.2公分",[90,163],{"id":23351,"slug":23352,"title":23353,"dynasty":189,"author":13201,"museum":20,"description":23354,"tags":23355,"thumbUrl":23356,"material":2465,"size":23357,"collection":163,"collections":23358,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":49},221697,"you-huang-xiu-shi-tu-zhou-gu-an-221697","幽篁秀石图轴","署款“东淮安定之”。下钤“顾定之印”等印3方。画幅左侧有明代张绅题记。\n此图绘数竿青竹在清风晨露中绰约多姿的体态。顾安在创作上力求表现竹子“清且真”的物态风神。“清”是指竹子不卑不亢、清高脱俗的内在品性，它是元代文人画家所追求向往的君子品德；“真”是指竹子清瘦隽逸、披霜戴雪的外在形貌，强调竹画艺术的写实精神。图中所绘之竹以淡墨写竿，浓墨画叶，深浅墨色虚实互衬，加强了画面层次感，扩展了空间。竹叶的画法遵循赵孟頫所倡导的“写竹还须八法通”的原则，熟练地以书法的“捺”法起笔收笔，叶根及叶尖皆见笔锋，写出其错落参差、披离偃仰之态。图中的湖石以墨、色点染，具有玲珑剔透之美，也映衬出竹之秀润娴静。全图以简洁的笔墨营造出“无穷出清新”的清逸意境。\n此卷原藏清宫内府，宣统年流入民间，为徐石雪所收藏，解放后捐献给国家文物局。文物局于1957年4月27日将它拨交故宫博物院。",[7,23,225,173,28,177,226,385,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e2953593c979f764e7fe4b77b7f4bc.jpg","纵184cm，横12cm",[163,1896],{"id":23360,"slug":23361,"title":23362,"dynasty":18,"author":2297,"museum":101,"description":23363,"tags":23364,"thumbUrl":23365,"material":7541,"size":23366,"collection":42,"collections":23367,"showCount":23164,"zanCount":2209,"manualWeight":48,"mainColor":49},221589,"shuang-que-tu-li-di-221589","双雀图","景德二年（1005年），状元及第，出任徐州通判。历任著作郎、直史馆、三司盐铁判官、海州监税、右司谏、知郓州、起居舍人、吏部员外郎、三司盐铁副使、知制诰、秘书监、等职，在地方政绩卓著，在中央参与军国要务，出入内外，两度担任同平章事（宰相），以太子太傅致仕。\n庆历七年（1047年），李迪去世，享年七十七岁，追赠司空兼侍中，谥号“文定”，宋仁宗亲题其碑首为“遗直之碑”。《全宋诗》录其诗，《全宋文》录有其文。",[7,23,24,1352,27,28,83,866,266,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe559fda312675455de696e9c73c23466.jpg","35x34",[42,90,45],{"id":23369,"slug":23370,"title":3243,"dynasty":18,"author":708,"museum":206,"description":23371,"tags":23372,"thumbUrl":23373,"material":27,"size":23374,"collection":181,"collections":23375,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":94},221225,"shan-shui-zhou-xia-gui-221225","诗塘 王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[7,23,1218,225,173,27,177,176,34,1266,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[181,163],{"id":23377,"slug":23378,"title":23379,"dynasty":54,"author":23380,"museum":7327,"description":23381,"tags":23382,"thumbUrl":23383,"material":2570,"size":23384,"collection":328,"collections":23385,"showCount":23164,"zanCount":48,"manualWeight":48,"mainColor":94},221103,"xiao-jing-he-zhi-zhang-221103","孝经","贺知章","《草书孝经》 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卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[7,23,24,25,173,29,177,86,178,263,1265,11241,34,1269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":23539,"slug":23540,"title":23541,"dynasty":18,"author":418,"museum":311,"description":23542,"tags":23543,"thumbUrl":23546,"material":139,"size":139,"collection":139,"collections":23547,"showCount":23497,"zanCount":48,"manualWeight":48,"mainColor":94},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[7,209,23,24,25,28,173,27,263,2607,23544,23545,3898,4272,266,384,314],"鸦","芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":23549,"slug":23550,"title":23551,"dynasty":204,"author":1733,"museum":311,"description":23552,"tags":23553,"thumbUrl":23554,"material":139,"size":139,"collection":139,"collections":23555,"showCount":23497,"zanCount":48,"manualWeight":48,"mainColor":49},226707,"ting-qin-tu-zhou-wen-ju-226707","听琴图","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[7,23,24,209,28,244,27,106,865,175,176,210,557,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],{"id":23557,"slug":23558,"title":23559,"dynasty":76,"author":963,"museum":311,"description":23560,"tags":23561,"thumbUrl":23562,"material":139,"size":139,"collection":139,"collections":23563,"showCount":23497,"zanCount":48,"manualWeight":48,"mainColor":49},224529,"zi-yun-jing-kai-yi-zhi-yan-shi-tao-224529","自云荆开一支眼","此作用开合之法排布丘壑，左右双峰雄峙，清溪自幽谷蜿蜒而出，层层铺展山水景深。笔法师法自然却不拘成法，方折勾勒山石轮廓，皴擦间带出苍厚质感，以赭石晕染岩面、花青点染林木苔痕，冷暖色调交织晕融，让雄奇山势裹着清润秀逸。\n\n谷间山居隐于林麓，暗合幽栖林下的野逸意趣，题识与画面相映成趣，诗画共生。笔墨纵恣灵变，摆脱摹古桎梏，以己心观照山水，将丘壑藏于笔底，尽显洒脱疏朗的性灵意趣，是借山川写胸臆的佳构。",[7,23,24,29,27,177,176,34,35,263,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d708bf201803287d6fb36b1c9262a54.jpg",[],{"id":23565,"slug":23566,"title":23567,"dynasty":76,"author":15238,"museum":311,"description":23568,"tags":23569,"thumbUrl":23570,"material":139,"size":139,"collection":139,"collections":23571,"showCount":23497,"zanCount":48,"manualWeight":48,"mainColor":94},224238,"zhu-ju-quan-shi-yang-da-zhang-224238","竹菊泉石","此作用笔清隽雅致，构图疏密相宜。嶙峋湖石居于画面中心，皴擦简约却尽显峭拔质感，撑起画面骨架。左侧淡墨写竹，枝叶轻曳似携秋风，留白处恍有清光流转，空灵秀逸。右下菊丛灼灼，黄紫双色错落层叠，瓣叶柔润鲜活，晕染出满幅秋意。细泉蜿蜒穿石而过，为冷寂添了几分灵动生机。\n\n设色浅淡柔和，以素净底色衬出花木之妍、湖石之朴，将秋日林泉的幽寂闲适铺陈开来，尽显雅致出尘的隐逸意趣。",[7,23,24,81,28,27,226,407,229,109,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a0e88bdb88ecce18fd83ad4aa28c84.jpg",[],{"id":23573,"slug":23574,"title":23575,"dynasty":18,"author":278,"museum":311,"description":23576,"tags":23577,"thumbUrl":23578,"material":139,"size":139,"collection":139,"collections":23579,"showCount":23497,"zanCount":2209,"manualWeight":48,"mainColor":94},223668,"xue-shan-xing-qi-tu-ye-yi-ming-223668","雪山行骑图页","此作用淡墨晕染萧寒天色，以敷粉留白晕染山石积雪，遍铺清寂冷冽的冬日元气。琼峰素裹，梢顶微缀暖色苔点，打破素白单调。近岸丹枫凝红，暖色调破开漫天寒意，冷暖和融，愈显冬日山林的幽寂旷远。\n天际寒鸦数点，更衬天地空茫。溪岸小径之上，行旅策蹇徐行，身影渺小却点睛，将羁旅的萧索孤清缓缓铺陈，把冬日行役的荒寒况味藏于尺幅小景之中。笔意简淡清润，以小见大，尽显幽远冷隽的山水意趣，藏着细腻的冬旅体察。",[7,209,23,24,81,27,28,29,7577,150,106,34,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9779e57a11c43e5207a10113109fa36.jpg",[],{"id":23581,"slug":23582,"title":23583,"dynasty":189,"author":278,"museum":206,"description":23584,"tags":23585,"thumbUrl":23587,"material":81,"size":23588,"collection":139,"collections":23589,"showCount":23497,"zanCount":2209,"manualWeight":48,"mainColor":94},223477,"zhao-liang-shi-nv-tu-yi-ming-223477","招涼仕女图","在这幅钱选的《招凉仕女图》中，以瘦为美的审美品味依旧可以被观众窥得。侍女身穿低胸衣、下身窄长裙，外套长褙子，修长了整个身形。右侧仕女头戴“重楼子”花冠。这种花冠据考证甚至高至两尺。它以漆纱制成的冠还能隐约透露出里面的发髻，让人感觉到轻盈精巧。左侧仕女头戴“玉兰花苞”花冠，像极了《瑶台步月图》中带团冠的贵妇，均由于装束打扮显现出修长而文弱的姿态。手中的圆扇子，把微风吹起，更突显了女子“犹抱琵琶半遮面”的含蓄娇柔之美。",[7,23,27,28,106,59,63,23586],"扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23d01f5d1870e7232b8d79ac68c4fc55.jpg","22.4 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叶果实又仿效徐崇嗣的没骨画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[7,209,23,24,1352,28,27,83,226,697,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],{"id":23880,"slug":23881,"title":23882,"dynasty":18,"author":708,"museum":311,"description":23883,"tags":23884,"thumbUrl":23885,"material":139,"size":139,"collection":139,"collections":23886,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[7,23,24,209,1352,173,177,29,1365,466,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],{"id":23888,"slug":23889,"title":23890,"dynasty":54,"author":13049,"museum":311,"description":23891,"tags":23892,"thumbUrl":23893,"material":139,"size":139,"collection":139,"collections":23894,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},227246,"shu-pu-sun-guo-ting-227246","书谱","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为“序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为“谱”，作者生前未能完成，现仅存第一卷。\n\n孙过庭（活动于七世纪后期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之后，遂专注于书法研究。",[7,86,2570,25,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d82f903b6926ec8c08c003e56a13f9.jpg",[],{"id":23896,"slug":23897,"title":23898,"dynasty":99,"author":278,"museum":311,"description":23899,"tags":23900,"thumbUrl":23901,"material":573,"size":23902,"collection":181,"collections":23903,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":49},223460,"shan-shui-lou-ge-tu-ye-yi-ming-223460","山水楼阁图页","图中绘高山峻岭，山石陡峭，树木葱郁，群山中有一楼阁，作为画中心，色彩不同于高山树木的墨绿，采用偏黄绘画，具有中国建筑特色，极为突出",[7,23,24,81,104,173,27,29,107,34,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae4ea4a3f42436225874305e3ba8ce.jpg","40X43",[181,163],{"id":23905,"slug":23906,"title":23907,"dynasty":54,"author":278,"museum":20,"description":23908,"tags":23909,"thumbUrl":23917,"material":573,"size":23918,"collection":139,"collections":23919,"showCount":23797,"zanCount":2209,"manualWeight":48,"mainColor":94},223360,"fu-xi-nv-wa-xiang-ye-yi-ming-223360","伏羲女娲像页","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。",[7,23,27,2158,539,23910,23911,23912,19073,18916,23913,23914,23915,23916],"伏羲","女娲","人首蛇身","星辰","规","矩","胡装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98549c4ea49fd625aec04606563866db.jpg","199.6*175CM,横上82*53.7CM厘米.",[],{"id":23921,"slug":23922,"title":23923,"dynasty":18,"author":278,"museum":101,"description":23924,"tags":23925,"thumbUrl":23927,"material":573,"size":23928,"collection":42,"collections":23929,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":49},223354,"fang-zhou-fang-xi-ying-tu-yi-ming-223354","仿周昉戏婴图","周昉《戏婴图》已失传，本卷为宋人摹本，技法设色均有周昉风骨。图绘五个女子与七个幼孩嬉戏、为幼孩洗浴、穿衣的生活场景。中国古代人物画，有“婴戏图”这一种类。“婴”字，作“孩童”解。以小孩的生活、游戏为描绘对象，表现孩童的天真、稚拙、活泼、可爱，画面生动、有趣，寄托了人们对于美好生活--“多子多福”的向往，所以历来很受大众的欢迎，在唐、宋时期无论题材还是技法都已相当成熟。如宋苏汉臣的《秋庭戏婴图》可谓杰作。",[7,23,209,28,27,106,59,19091,807,4304,436,23926,67],"孩童嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b11b8ef4628a62aa0c11093093e5b0.jpg","纵30.5厘米，横111.8厘米",[42],{"id":23931,"slug":23932,"title":23933,"dynasty":76,"author":5492,"museum":3808,"description":23934,"tags":23935,"thumbUrl":23936,"material":23937,"size":23938,"collection":90,"collections":23939,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},223252,"zhu-ju-hua-tu-zhou-pu-hua-223252","竹菊花图轴","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[7,23,27,173,225,83,226,407,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f837281a5a3ede855624505ab9f5514.jpg","纸本，册页，设色","纵27厘米、横34厘米",[90,45],{"id":23941,"slug":23942,"title":23943,"dynasty":76,"author":803,"museum":583,"description":1453,"tags":23944,"thumbUrl":23945,"material":527,"size":7441,"collection":139,"collections":23946,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图",[7,315,23,24,27,400,83,20924,19375,264,34,658,1629,9402,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg",[],{"id":23948,"slug":23949,"title":23950,"dynasty":76,"author":336,"museum":20,"description":23951,"tags":23952,"thumbUrl":23954,"material":40,"size":23955,"collection":90,"collections":23956,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":49},222792,"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[7,28,27,150,1322,106,1003,558,34,2137,23953],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg","纵51.2厘米，横166厘米",[90,45],{"id":23958,"slug":23959,"title":23960,"dynasty":76,"author":336,"museum":206,"description":10745,"tags":23961,"thumbUrl":23962,"material":573,"size":10749,"collection":181,"collections":23963,"showCount":23797,"zanCount":1337,"manualWeight":48,"mainColor":94},222767,"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[7,23,24,28,27,104,106,107,34,176,115,175,84,298,9597,10102,1646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[181,45],{"id":23965,"slug":23966,"title":23967,"dynasty":99,"author":16949,"museum":206,"description":23968,"tags":23969,"thumbUrl":23970,"material":88,"size":23971,"collection":163,"collections":23972,"showCount":23797,"zanCount":2209,"manualWeight":48,"mainColor":94},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[7,23,24,225,173,27,177,263,29,403,226,175,108,109,176,34,266,866,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[163,45],{"id":23974,"slug":23975,"title":23976,"dynasty":99,"author":21295,"museum":206,"description":23977,"tags":23978,"thumbUrl":23980,"material":173,"size":23981,"collection":181,"collections":23982,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[7,209,23,24,225,173,177,176,865,37,466,23979,1776,29],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[181,45],{"id":23984,"slug":23985,"title":23986,"dynasty":99,"author":170,"museum":20,"description":23987,"tags":23988,"thumbUrl":23990,"material":699,"size":23991,"collection":90,"collections":23992,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},222129,"xin-yi-mo-cai-tu-juan-shen-zhou-222129","辛夷墨菜图卷","第一段：本幅无款，右下钤印“启南”（朱文）。另有吴宽题诗：“半含成木笔，本号是辛夷。一树石庭下，故园增我思。”钤印“延州来季子后”（朱文）。另钤“项元汴印”（朱文）等鉴藏印多方。此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\n第二段：本幅无款，右下钤“启南”朱文印。另有吴宽题诗：“翠玉晓茏葱，畦间足春雨。咬根莫弄叶，还可作羹煮。”钤“原博”朱文印。另钤项元汴“平生真赏”朱文印等鉴藏印多方。画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[7,25,173,27,400,23989,4676,84,284,263,86],"辛夷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36497ff253f3762a4bf12e6f7a25d7a3.jpg","第一段，纸本，设色，纵34.9厘米，横58.8厘米；第二段，纸本，墨笔，纵34.9厘米，横58.8厘米。",[90,163],{"id":23994,"slug":23995,"title":23996,"dynasty":99,"author":817,"museum":56,"description":3629,"tags":23997,"thumbUrl":23999,"material":139,"size":24000,"collection":139,"collections":24001,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":629},221980,"ni-jin-bo-luo-mi-duo-jin-gang-jing-wen-zheng-ming-221980","泥金波罗密多金刚经",[7,86,5152,621,23998,243,5153,225],"泥金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bedf057a4ed70908119f61b493eb45.jpg","116X31cm",[],{"id":24003,"slug":24004,"title":24005,"dynasty":18,"author":11652,"museum":78,"description":6737,"tags":24006,"thumbUrl":24007,"material":24008,"size":24009,"collection":42,"collections":24010,"showCount":23797,"zanCount":1337,"manualWeight":48,"mainColor":49},221585,"an-chun-tu-li-an-zhong-221585","鹌鹑图",[7,209,23,24,28,27,83,8304,512,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[42,90,45],{"id":24012,"slug":24013,"title":24014,"dynasty":18,"author":1419,"museum":1666,"description":24015,"tags":24016,"thumbUrl":24017,"material":67,"size":1681,"collection":139,"collections":24018,"showCount":23797,"zanCount":2209,"manualWeight":48,"mainColor":49},221531,"jiang-shang-xiao-chuan-tu-ma-yuan-221531","江上小船图","马远（约1140－约1225年后），南宋画家。字遥父，号钦山，原籍河中（今山西永济），侨寓钱塘（今浙江杭州）。出身绘画世家，南宋光宗、宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[7,23,209,24,1352,173,27,106,174,29,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9920e6cf5cd9c356e5072e6bc0e4c7e.jpg",[],{"id":24020,"slug":24021,"title":24022,"dynasty":18,"author":5270,"museum":260,"description":24023,"tags":24024,"thumbUrl":24025,"material":67,"size":24026,"collection":42,"collections":24027,"showCount":23797,"zanCount":1337,"manualWeight":48,"mainColor":49},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[7,209,23,24,25,244,27,178,263,86,106,107,109,108,175,866,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[42,181,45],{"id":24029,"slug":24030,"title":24031,"dynasty":18,"author":24032,"museum":20,"description":24033,"tags":24034,"thumbUrl":24035,"material":40,"size":24036,"collection":42,"collections":24037,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":49},221436,"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[7,209,23,24,25,173,177,29,151,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[42],{"id":24039,"slug":24040,"title":24041,"dynasty":18,"author":7741,"museum":311,"description":24042,"tags":24043,"thumbUrl":24044,"material":27,"size":24045,"collection":42,"collections":24046,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":49},221424,"shan-shui-tu-ye-yan-wen-gui-221424","山水图页","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[7,209,23,24,81,27,177,29,34,114,111,1265,1617,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[42,181,163],{"id":24048,"slug":24049,"title":24050,"dynasty":54,"author":24051,"museum":311,"description":24052,"tags":24053,"thumbUrl":24054,"material":24055,"size":24056,"collection":328,"collections":24057,"showCount":23797,"zanCount":2209,"manualWeight":48,"mainColor":49},221085,"shan-jian-lv-guo-quan-221085","善见律","国诠","国诠，初唐经生，生平不详。此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。此卷则为千年传世之本，首尾俱全。卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[7,86,5152,621,25,263,5153,10270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6d148a7b0d6cda68adfb7b22af8e2c.jpg","国诠书，纸本","纵22.6厘米，横468.8厘米",[328,2097],{"id":24059,"slug":24060,"title":24061,"dynasty":76,"author":24062,"museum":523,"description":24063,"tags":24064,"thumbUrl":24065,"material":409,"size":24066,"collection":163,"collections":24067,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[7,23,24,225,173,177,105,29,5174,1265,866,109,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[163],{"id":24069,"slug":24070,"title":24071,"dynasty":76,"author":77,"museum":311,"description":24072,"tags":24073,"thumbUrl":24074,"material":88,"size":24075,"collection":90,"collections":24076,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[7,23,24,83,209,225,82,27,28,369,283,4272,84,759,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[90],{"id":24078,"slug":24079,"title":24080,"dynasty":18,"author":24081,"museum":206,"description":24082,"tags":24083,"thumbUrl":24084,"material":123,"size":24085,"collection":90,"collections":24086,"showCount":23797,"zanCount":2209,"manualWeight":48,"mainColor":94},219940,"ye-shu-cao-chong-tu-xu-di-219940","野蔬草虫图","许迪","素净的地面上，有一株孤伶伶的白菜。零星的叶片，褪了不少绿意，也被虫子啃蚀得有些残破。一只红尾的蝗虫大剌剌地弹跳了过来，看来又是想要来饱食一顿的饕客。白菜上方，另一位访客－淡黄的粉蝶也翩然而至，与一只黑翅的蜻蜓不期而遇。看这只蜻蜓摩拳搓掌的样子，不禁令人替这只娇弱的粉蝶捏把冷汗。",[7,209,23,1352,28,27,12753,511,512,696,1920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9714821a89822cea4d8aee785f1a6b.jpg","纵25.8厘米、横26.9厘米",[90],{"id":24088,"slug":24089,"title":24090,"dynasty":76,"author":336,"museum":20,"description":24091,"tags":24092,"thumbUrl":24094,"material":123,"size":24095,"collection":90,"collections":24096,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":49},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[7,209,23,24,225,28,27,1126,1365,466,176,24093,9249],"白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[90],{"id":24098,"slug":24099,"title":24100,"dynasty":76,"author":4406,"museum":20,"description":24101,"tags":24102,"thumbUrl":24103,"material":123,"size":24104,"collection":181,"collections":24105,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":49},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[7,209,23,24,225,27,29,109,176,34,105,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[181],{"id":24107,"slug":24108,"title":24109,"dynasty":204,"author":24110,"museum":206,"description":24111,"tags":24112,"thumbUrl":24113,"material":123,"size":24114,"collection":90,"collections":24115,"showCount":23797,"zanCount":2209,"manualWeight":48,"mainColor":94},219212,"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[7,23,209,1352,83,28,27,5174,370,7803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","24.7x26.1cm",[90],{"id":24117,"slug":24118,"title":24119,"dynasty":18,"author":1137,"museum":206,"description":24120,"tags":24121,"thumbUrl":24122,"material":123,"size":24123,"collection":42,"collections":24124,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},219205,"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[7,209,23,24,1352,28,27,83,62,384,370,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[42,90],{"id":24126,"slug":24127,"title":24128,"dynasty":99,"author":17700,"museum":20,"description":24129,"tags":24130,"thumbUrl":24132,"material":88,"size":24133,"collection":44,"collections":24134,"showCount":23797,"zanCount":2209,"manualWeight":48,"mainColor":94},219059,"yu-le-tu-zhou-chen-219059","渔乐图","周臣（生卒年不详），字舜卿，号东村，吴县（今江苏苏州）人。画山水师陈暹（1405－1496年），摹古于宋人李成、郭熙、马远、夏圭，用笔纯熟，所谓“行家”意胜耳。何良俊以为，与戴进（1388－1462年）并驱，则互有所长，亦是院体中一高手。兼工人物，古貌奇姿，绵细萧散，各极意能。 　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[7,23,25,173,28,106,174,384,31,3899,867,177,149,24131],"渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[44],{"id":24136,"slug":24137,"title":24138,"dynasty":18,"author":278,"museum":311,"description":24139,"tags":24140,"thumbUrl":24141,"material":67,"size":24142,"collection":42,"collections":24143,"showCount":23797,"zanCount":2209,"manualWeight":48,"mainColor":49},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[7,209,23,24,27,177,29,866,175,109,106,150,263,176,108,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[42],{"id":24145,"slug":24146,"title":24147,"dynasty":189,"author":278,"museum":311,"description":24148,"tags":24149,"thumbUrl":24150,"material":173,"size":139,"collection":163,"collections":24151,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":49},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[7,23,24,225,173,400,244,106,6926,384,176,4272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[163],{"id":24153,"slug":24154,"title":24155,"dynasty":76,"author":4406,"museum":20,"description":24156,"tags":24157,"thumbUrl":24158,"material":409,"size":24159,"collection":181,"collections":24160,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[7,23,173,29,177,105,734,282,175,384,229,109,865,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[181],{"id":24162,"slug":24163,"title":24164,"dynasty":76,"author":582,"museum":447,"description":4491,"tags":24165,"thumbUrl":24166,"material":123,"size":4494,"collection":139,"collections":24167,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},218325,"shen-xian-gu-shi-tu-ce-11-leng-mei-218325","神仙故事图册-11",[7,23,28,27,106,433,2279,13899,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265342d420f4fcbf9947c00f2685e6c8.jpg",[],{"id":24169,"slug":24170,"title":24171,"dynasty":76,"author":7147,"museum":78,"description":24172,"tags":24173,"thumbUrl":24176,"material":123,"size":24177,"collection":44,"collections":24178,"showCount":23797,"zanCount":2209,"manualWeight":48,"mainColor":94},218248,"ke-zhai-ji-gu-tu-juan-shang-ren-xun-218248","愙斋集古图卷-上","这部作品有两卷：上卷和下卷。上卷由艺术家任薰绘制，下卷由胡祥和陆恢合作完成。\n任薰的这幅画描绘了坐在客人对面的吴氏。他盘腿坐在沙发上，周围都是珍贵的古董，古董铜器被逐一命名。",[7,23,25,27,28,106,6252,24174,211,24175],"礼器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9fef0b9a8c954811340da2b17afad5.jpg","41.5x160.5",[44],{"id":24180,"slug":24181,"title":24182,"dynasty":18,"author":1419,"museum":132,"description":3437,"tags":24183,"thumbUrl":24184,"material":123,"size":3440,"collection":139,"collections":24185,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)",[7,23,24,81,27,29,177,1365,3024,2019,1265,37,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg",[],{"id":24187,"slug":24188,"title":24189,"dynasty":76,"author":1047,"museum":132,"description":24190,"tags":24191,"thumbUrl":24192,"material":88,"size":139,"collection":139,"collections":24193,"showCount":23797,"zanCount":48,"manualWeight":48,"mainColor":94},214368,"tian-guang-yun-jing-tu-ce-zhu-da-214368","天光云景图册","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[7,23,24,81,173,29,34,35,229,266,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cfec1f032a3c376c5af72892319e611.jpg",[],{"id":24195,"slug":24196,"title":24197,"dynasty":54,"author":485,"museum":206,"description":24198,"tags":24199,"thumbUrl":24200,"material":2164,"size":2165,"collection":139,"collections":24201,"showCount":24202,"zanCount":2209,"manualWeight":48,"mainColor":94},289889,"zhu-lin-wu-jun-tu-yan-li-ben-289889","竹林五君图","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[7,23,209,225,27,106,226,86,263,5187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189baa2b3db03fad97d5e31e862a3468.jpg",[],55,{"id":24204,"slug":24205,"title":6002,"dynasty":18,"author":1395,"museum":311,"description":24206,"tags":24207,"thumbUrl":24208,"material":2164,"size":2165,"collection":139,"collections":24209,"showCount":24202,"zanCount":48,"manualWeight":48,"mainColor":49},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[7,209,23,24,25,173,27,177,29,174,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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[7,620,86,1163,24335,6253,24336,24337,24338,24339,24340],"金文","碑拓","西周风格","篆体","金石文字","铭刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4648fe470a2c89e4438f34ddff6337a.jpg",[],{"id":24344,"slug":24345,"title":24346,"dynasty":76,"author":7940,"museum":206,"description":24347,"tags":24348,"thumbUrl":24349,"material":67,"size":24350,"collection":181,"collections":24351,"showCount":24202,"zanCount":48,"manualWeight":48,"mainColor":49},224464,"lin-fan-kuan-xue-shan-tu-zhou-wang-hui-224464","临范宽雪山图轴","山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。",[7,23,1218,105,177,173,27,7577,176,865,4970,225,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 118.3公分",[181,163],{"id":24353,"slug":24354,"title":24355,"dynasty":76,"author":3676,"museum":311,"description":24356,"tags":24357,"thumbUrl":24358,"material":527,"size":24359,"collection":181,"collections":24360,"showCount":24202,"zanCount":48,"manualWeight":48,"mainColor":94},224235,"cuo-luo-shan-hu-zhi-tu-wu-chang-shuo-224235","错落珊瑚枝图","吴昌硕善于画花卉，此幅《错落珊瑚枝》为吴氏花卉画之力作，“错落珊瑚枝，铁网出海底”，如其款识中所题，画面结构严谨，用笔遒劲，吴昌硕善于用线，每枝枝干、每片花叶都似铁杆般坚韧，富有生命力。其构图极为讲究，画家首先用两尊顽石坐落于画面两侧，稳住了画面重心。数枝天竺从顽石后方穿插向上，更与树叶形成疏密对比，几簇天竺果高低错落、顾盼生姿、扶摇而上。",[7,23,225,400,27,173,177,176,284,2267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4feda463be4617f92164883644e7b38b.jpg","纵183厘米，横93厘米",[181,45],{"id":24362,"slug":24363,"title":24364,"dynasty":76,"author":1563,"museum":311,"description":24365,"tags":24366,"thumbUrl":24367,"material":139,"size":139,"collection":139,"collections":24368,"showCount":24202,"zanCount":2209,"manualWeight":48,"mainColor":94},224171,"tian-shan-ji-xue-tu-hua-yan-224171","天山积雪图","名画家说名画：李燕说华喦是河北美术出版社出版的一部作品。\n《名画家说名画:李燕说华喦》包括：天山积雪图、金屋春深图、松下观流图、苏米对书图、钟馗赏竹图、竹林七贤图、隔水吟窗图、曹松堂肖像、春宴图、钟馗嫁妹图、关山勒马图、渔家乐图、梅鹤图、渔夫晚归图内容。\n天山积雪图 金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 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nt":24202,"zanCount":48,"manualWeight":48,"mainColor":94},219298,"you-yu-tu-li-fang-ying-219298","游鱼图","《游鱼图》是李方膺的代表作。画中春水方生，欢腾的鲤鱼争相穿越于河水间，它们或直冲入水底，或徜徉于水面，或摇头摆尾，或展鳍跳跃，在寒冷的冬天之后尽情享受着春天河水复苏带来的喜悦。画面生动传神而富有情趣。作者用笔洗练，虽无一笔背景，却使人透过温和的春水仿佛看到了江南明媚的春日景象，达到了意到笔不到、景在画外的艺术效果。\n根据画面的风格和题诗，可以推断此图是李方膺罢官（乾隆十三年，1748年）之后的作品。画中作者以游鱼自拟，隐喻他久困樊笼，终得返归自然，表现了作者向往自由生活的思想及其品格情操。明清文人常以“四君子”题材直抒胸臆，表现闲雅高洁的品行。李方膺也善画梅，而在晚年，他选择了游鱼为题材表达自己的思想感受，跳出了文人画的樊篱，立意新颖，扩大了文人画的表现领域和审美情趣，他的创新也正表现出“扬州八怪”对绘画的突出贡献。\n在画面位置经营上，此图也与众不同。5尾姿态不同的游鱼组成一条反“S”形曲线，鱼头、鱼尾相互呼应，既有形式上的美感，又渲染了腾跃而出的气氛。右边题诗一贯到底，字体浑厚雄肆，增强了画面的整体感，从而成为诗、书、画完美统一的佳构。",[7,23,173,225,400,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff613ec4e2d38e9fcb8dd2ed4789cd59.jpg","纵123.5厘米，横60厘米",[90,163],{"id":24538,"slug":24539,"title":24540,"dynasty":76,"author":24541,"museum":447,"description":24542,"tags":24543,"thumbUrl":24544,"material":123,"size":24545,"collection":90,"collections":24546,"showCount":24202,"zanCount":2209,"manualWeight":48,"mainColor":49},219060,"lu-ya-tu-sun-yi-219060","芦鸭图","孙益","疏苇亭亭，叶带风意，枝干交错间藏着野趣。岸石上双鸭相依，一者昂首理羽，绿颈蓝斑映着天光；一者低首小憩，绒羽纹理细腻如触。淡赭底色晕开清寂，笔墨工致却不板滞——芦苇的线条柔韧含苍，禽鸟的姿态灵动传神，似能闻得水畔风鸣，见得细浪轻拍岸石。整幅画将江南水泽的闲淡之景凝于尺幅，草木的苍劲与生灵的鲜活相映成趣，尽显自然生机里的静谧况味。",[7,23,24,225,28,27,83,3899,925,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89361e3af2e269c9833f44d7c0be584d.jpg","159.3x96.5cm",[90],{"id":24548,"slug":24549,"title":9631,"dynasty":18,"author":1793,"museum":206,"description":24550,"tags":24551,"thumbUrl":24552,"material":123,"size":24553,"collection":42,"collections":24554,"showCount":24202,"zanCount":2209,"manualWeight":48,"mainColor":94},218933,"bu-yu-tu-li-cheng-218933","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[7,23,209,24,81,173,177,29,866,174,1542,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[42],{"id":24556,"slug":24557,"title":24558,"dynasty":18,"author":278,"museum":206,"description":24559,"tags":24560,"thumbUrl":24561,"material":123,"size":24562,"collection":42,"collections":24563,"showCount":24202,"zanCount":48,"manualWeight":48,"mainColor":94},218837,"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[7,23,1352,27,29,28,3620,151,384,1265,1128,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","22.4x22.4",[42,181],{"id":24565,"slug":24566,"title":24567,"dynasty":18,"author":1137,"museum":206,"description":24568,"tags":24569,"thumbUrl":24570,"material":123,"size":139,"collection":181,"collections":24571,"showCount":24202,"zanCount":1337,"manualWeight":48,"mainColor":94},218680,"xing-hua-chun-niao-tu-lin-chun-218680","杏花春鸟图","本幅选自宋人《合璧画册》，枝干笔法接近林椿“山（木茶）霁雪”，惟转折提顿较明显，技法上更显纯熟。用色层层填染，具“山（木茶）霁雪”韵味。花朵白粉分染处理，与推断为马麟（约1180—1256后）所作之宋人“桃花”相类，然“桃花”枝干更见自然感。林椿、马麟的活动时期在先后间，“杏花春鸟”则或是略晚于马麟之典型精致南宋院画作品。",[7,209,23,24,28,27,83,2380,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97fa3fb771034ae4db090c526bdd41b5.jpg",[181],{"id":24573,"slug":24574,"title":5576,"dynasty":99,"author":278,"museum":132,"description":24575,"tags":24576,"thumbUrl":24577,"material":123,"size":139,"collection":181,"collections":24578,"showCount":24202,"zanCount":48,"manualWeight":48,"mainColor":49},217977,"wang-chuan-tu-yi-ming-217977","辋川图采用了中国传统的山水画风格，画面中展示了辽河流域的山峦、河流、村庄和城市。画中还有许多人物，展示了当时这一地区的生活方式和文化。\n\n辋川图因其精美的绘画技巧和对历史文化的精准再现而闻名，是中国山水画史上的珍贵艺术品。目前，辋川图被认为是中国古代山水画的杰作，具有极高的艺术价值和文化意义。",[7,209,23,25,1218,104,27,557,109,107,34,106,174,194,10280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d11196376a0cf5547e83905727dc07.jpg",[181],{"id":24580,"slug":24581,"title":24582,"dynasty":189,"author":9788,"museum":132,"description":24583,"tags":24584,"thumbUrl":24585,"material":123,"size":24586,"collection":90,"collections":24587,"showCount":24202,"zanCount":48,"manualWeight":48,"mainColor":49},216674,"ge-zi-tu-wang-yuan-216674","鸽子图","王渊（生卒年不详）是中国元朝（1271年 - 1368年）的一位著名画家，他的代表作品是《鸽子图》。《鸽子图》是一幅水墨画，描绘了一群自由自在地飞翔的鸽子。这幅画被认为是王渊最优秀的作品之一，其中体现了王渊对动物自然、生动的描绘方式。此外，《鸽子图》还展示了王渊对色彩运用的精湛技巧，使得画面栩栩如生，充满生机和活力。",[7,23,27,28,83,266,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2859eb0a4bf8656af4d2d93c4ff4064.jpg","26x28cm",[90],{"id":24589,"slug":24590,"title":24591,"dynasty":76,"author":963,"museum":677,"description":24592,"tags":24593,"thumbUrl":24594,"material":88,"size":139,"collection":181,"collections":24595,"showCount":24202,"zanCount":48,"manualWeight":48,"mainColor":94},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[7,23,81,27,173,29,86,178,177,400,734,282,384,35,175,108,109,106,229,866,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[181],{"id":24597,"slug":24598,"title":21644,"dynasty":76,"author":24599,"museum":206,"description":24600,"tags":24601,"thumbUrl":24602,"material":409,"size":24603,"collection":328,"collections":24604,"showCount":24202,"zanCount":48,"manualWeight":48,"mainColor":94},214240,"li-shu-liu-yan-lian-xia-ding-214240","夏鼎","这幅隶书联作，笔法古拙沉厚，蚕头燕尾的波磔分明却不张扬，横画舒展如古松偃卧，竖笔挺劲似石笋立崖。字形宽博方正，规整中藏灵动——“飞”字撇捺轻扬带行云意，“月”字弧笔圆转含清辉态。两联对称呼应，墨色浓淡相宜，枯笔见筋骨，润笔显华滋，章法疏朗气脉贯通。整体气息雅正醇厚，既有汉隶古朴沉雄遗韵，又融个人笔意鲜活灵动，将六言联语文趣与隶书金石味完美糅合。观之如临古雅书斋，墨香与诗韵交织，笔墨间见岁月沉淀的温润风骨，尽显传统书法的静穆之美与文人意趣。",[7,315,86,5405,7024,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47e82bd1e4d31ff74ba3a8613e2d34b.jpg","130.8x29.4",[328],{"id":24606,"slug":24607,"title":24608,"dynasty":76,"author":2214,"museum":311,"description":24609,"tags":24610,"thumbUrl":24611,"material":2164,"size":2165,"collection":139,"collections":24612,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},288402,"han-xiang-yun-zui-mian-shao-yao-chou-sun-wen-288402","憨湘云醉眠芍药绸","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[7,23,28,27,106,59,16126,1646,990,9298,1640,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c0ad93722cfabe4eaa249ff739d37d.jpg",[],54,{"id":24615,"slug":24616,"title":24617,"dynasty":76,"author":16336,"museum":311,"description":16337,"tags":24618,"thumbUrl":24620,"material":2164,"size":2165,"collection":139,"collections":24621,"showCount":24613,"zanCount":2209,"manualWeight":48,"mainColor":94},288234,"duo-zi-tu-li-zhou-qu-zhao-lin-288234","多子图立轴",[7,23,225,28,27,83,266,1153,226,229,24619],"多子多福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84673a9abd63bfd4f7c5dbd2d3b0bdb3.jpg",[],{"id":24623,"slug":24624,"title":24625,"dynasty":76,"author":1563,"museum":311,"description":24626,"tags":24627,"thumbUrl":24628,"material":139,"size":139,"collection":139,"collections":24629,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},234249,"bai-shou-tu-hua-yan-234249","百兽图","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[7,23,25,27,28,177,29,808,11064,151,384,385,386,266,9308,6545,4778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8e66486eac6115b5e7d13a3b541fdc.jpg",[],{"id":24631,"slug":24632,"title":2158,"dynasty":277,"author":24633,"museum":311,"description":24634,"tags":24635,"thumbUrl":24640,"material":2164,"size":2165,"collection":139,"collections":24641,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":255},231699,"ren-wu-hua-ge-chuan-feng-guo-231699","歌川丰国","此作以柔婉线条勾勒仕女情态，蓝花簪发的她肩挑朱绳吊桶，将市井营生晕染出雅致和风。吊桶海浪纹样灵动写意，和服层叠晕染出水色衣袂，裙摆织锦纹样细腻华美，将面料肌理晕染的层次分明。画师把世俗挑水劳作，揉入古典美人绘的温婉气质，静穆身姿暗蕴市井烟火的鲜活气，让日常营生化为诗意绘卷，尽显柔美雅致的浮世风韵。",[7,209,13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年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[7,209,23,24,25,27,28,227,783,370,314,696,3899,24731,781,1194,24732,19306,24733,9402,84,282,24734,266],"水藻","红鱼","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],{"id":24739,"slug":24740,"title":24741,"dynasty":99,"author":862,"museum":583,"description":24742,"tags":24743,"thumbUrl":24744,"material":699,"size":24745,"collection":90,"collections":24746,"showCount":24613,"zanCount":2209,"manualWeight":48,"mainColor":94},222604,"hong-ye-qiu-qin-tu-lan-ying-222604","红叶秋禽图","枝头稀稀落落的几片叶子，让人联想到地上可能已有大片的落叶，秋意渐浓",[7,225,23,27,173,83,2137,1628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0891cd63ac53d923be6085e133c60d20.jpg","35.8x94.7",[90,45],{"id":24748,"slug":24749,"title":24750,"dynasty":99,"author":24751,"museum":56,"description":24752,"tags":24753,"thumbUrl":24754,"material":699,"size":24755,"collection":181,"collections":24756,"showCount":24613,"zanCount":2209,"manualWeight":48,"mainColor":94},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[7,23,24,225,27,177,28,29,226,384,35,109,106,558,23019,1267,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[181,45],{"id":24758,"slug":24759,"title":24760,"dynasty":99,"author":24761,"museum":523,"description":24762,"tags":24763,"thumbUrl":24765,"material":699,"size":24766,"collection":181,"collections":24767,"showCount":24613,"zanCount":2209,"manualWeight":48,"mainColor":94},222323,"song-bai-tu-fang-yi-zhi-222323","松柏图","方以智","图绘松柏两棵，一棵虬枝叶茂，另一棵上半段已残缺，仍坚强孤傲立于山石之上，树下隐约现长亭横顶，此处为观景纳凉之佳地；远处山色浓重，云蒸雾绕，透出孤寂冷清之意境。方以智，字密之，号曼公，明代哲学家、画家，明末清初出家为僧",[7,23,173,177,225,24764,29,229,175,434,176,34,1265],"松柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60d9e5554f54a559543073dca6744eb.jpg","47.3x125.6厘米",[181,163],{"id":24769,"slug":24770,"title":24771,"dynasty":99,"author":16949,"museum":3848,"description":24772,"tags":24773,"thumbUrl":24775,"material":1691,"size":24776,"collection":181,"collections":24777,"showCount":24613,"zanCount":2209,"manualWeight":48,"mainColor":94},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[7,23,173,225,29,226,17312,109,2342,9402,177,99,14474,4191,284,3318,400,24774,889],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","48X123cm",[181,163],{"id":24779,"slug":24780,"title":24781,"dynasty":189,"author":3051,"museum":101,"description":24782,"tags":24783,"thumbUrl":24784,"material":699,"size":24785,"collection":139,"collections":24786,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":94},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[7,23,24,25,27,28,178,263,29,106,175,226,34,7725],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":24788,"slug":24789,"title":21274,"dynasty":18,"author":3466,"museum":1666,"description":24790,"tags":24791,"thumbUrl":24792,"material":699,"size":24793,"collection":42,"collections":24794,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":94},221503,"yuan-pu-gui-fan-tu-mu-xi-221503","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[7,23,173,29,25,174,34,266,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[42,181,163],{"id":24796,"slug":24797,"title":24798,"dynasty":18,"author":2297,"museum":101,"description":24799,"tags":24800,"thumbUrl":24802,"material":67,"size":24803,"collection":42,"collections":24804,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[7,23,209,1352,28,27,2607,6545,808,106,1003,24801,5534],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[42,90,163],{"id":24806,"slug":24807,"title":24808,"dynasty":18,"author":461,"museum":101,"description":11073,"tags":24809,"thumbUrl":24810,"material":573,"size":11076,"collection":42,"collections":24811,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[7,23,24,25,29,177,27,176,34,37,1087,5535,468,1871,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[42,181,163],{"id":24813,"slug":24814,"title":24815,"dynasty":18,"author":24816,"museum":311,"description":24817,"tags":24818,"thumbUrl":24819,"material":67,"size":24820,"collection":42,"collections":24821,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":94},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[7,23,24,25,27,29,107,175,109,174,34,176,106,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[42,181,163],{"id":24823,"slug":24824,"title":24825,"dynasty":18,"author":3584,"museum":206,"description":24826,"tags":24827,"thumbUrl":24828,"material":67,"size":24829,"collection":44,"collections":24830,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":94},221201,"song-gao-zong-shu-xiao-jing-ma-he-zhi-hui-tu-ce-zhao-gou-221201","宋高宗书孝经马和之绘图册","圖冊原本應為圖文相連的長卷，後來因破損嚴重，改裝成書畫分開的冊頁形式。畫幅各藉不同場景，詮釋各階層人士盡孝及忠君的雙重意涵。圖文相輔，充分突顯了“為君主立言”的創作初衷。圖冊諸題跋均肯定《孝經》書法出自於宋高宗之手。畫幅風格則與馬和之全然不同，部分山石皴法反倒與李唐、蕭照較近。",[7,209,23,24,81,27,106,86,621,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ba40826be74d19b5b9d115b4400475.jpg","40x88厘米",[44,45],{"id":24832,"slug":24833,"title":3243,"dynasty":189,"author":767,"museum":206,"description":24834,"tags":24835,"thumbUrl":24836,"material":699,"size":3247,"collection":181,"collections":24837,"showCount":24613,"zanCount":2209,"manualWeight":48,"mainColor":94},220809,"shan-shui-zhou-wang-meng-220809","王蒙（1308-1385），元代著名画家，字叔明（一作叔铭），晚年居黄鹤山，号黄鹤山樵。又自称香光居士。王蒙是元初著名书画家赵孟頫的外甥，出身书画世家，曾一度任官。绘画主要师法董、巨，与倪瓒、黄公望、吴镇齐名并有交往，后人称“元四家”。",[7,23,24,225,173,177,29,176,34,109,108,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6dcb4762f048b8615a5bade13370e9.jpg",[181,163],{"id":24839,"slug":24840,"title":24841,"dynasty":189,"author":3051,"museum":206,"description":24842,"tags":24843,"thumbUrl":24844,"material":123,"size":24845,"collection":90,"collections":24846,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},220384,"qiu-fang-niao-yu-tu-qian-xuan-220384","秋芳鸟语图","钱选山水师赵令穰，人物师李公麟，花鸟师赵昌，青绿山水师赵伯驹，尤善作折枝，其得意者赋诗其上。工临仿，尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉。选多写人物、花鸟，故所图山水当世罕传。。钱选与赵孟頫同乡并同享盛名。擅画人物、花卉及山水。其自题《其与花鸟画曾师法赵昌，又自有变法，多表现田园隐居等情趣，如《柴桑翁像》、等山水画。后因为手颤，以及对付诸多仿造者，改作水墨写意花卉。明代鲁王朱檀墓随葬有钱选等，多以水墨画就。",[7,209,23,24,1352,27,28,83,407,266,229,20303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194ffa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－1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[7,25,28,27,86,263,150,808,384,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[44,45],{"id":24857,"slug":24858,"title":24859,"dynasty":189,"author":24860,"museum":206,"description":24861,"tags":24862,"thumbUrl":24863,"material":123,"size":24864,"collection":181,"collections":24865,"showCount":24613,"zanCount":2209,"manualWeight":48,"mainColor":49},220239,"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[7,23,24,225,173,177,29,1365,5650,176,175,34,468,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[181],{"id":24867,"slug":24868,"title":24869,"dynasty":18,"author":278,"museum":206,"description":24870,"tags":24871,"thumbUrl":24873,"material":123,"size":24874,"collection":42,"collections":24875,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},220148,"lu-ting-shuang-ya-tu-yi-ming-220148","芦汀双鸭图","淡墨晕开秋水，似笼着薄雾寒烟，汀渚静卧，清寂悠然。右侧芦苇以双钩提笔绘就，细劲笔触勾出舒展茎叶，墨色分染衬出枯软肌理，仿有风过簌簌摇曳，野意横生。\n\n水面野鸭悠然徐行，浓墨点染头颈，浅墨晕开羽上斑纹，明暗相宜，灵动鲜活。寥寥数笔勾出鸭掌拨出的细微波痕，暗合水动之姿。\n\n整幅画作以简驭繁，舍去浓艳敷色，独以水墨铺陈郊野水滨之景，将秋日汀洲的幽寂闲趣藏于绢素，把自然生灵的安闲之态凝于笔端，尽显含蓄雅致的古典意韵。",[7,23,24,83,225,28,27,3899,925,2310,24872],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af9eabc519e95fbd973739de4ea50c.jpg","86.5x90.4",[42],{"id":24877,"slug":24878,"title":24879,"dynasty":76,"author":1929,"museum":311,"description":24880,"tags":24881,"thumbUrl":24882,"material":27,"size":139,"collection":90,"collections":24883,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},220145,"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[7,23,24,225,27,173,400,83,1365,369,606,10876,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[90],{"id":24885,"slug":24886,"title":24887,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":24888,"thumbUrl":24889,"material":88,"size":1533,"collection":139,"collections":24890,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},220012,"dong-zhuang-tu-ce-zhi-xi-xi-shen-zhou-220012","东庄图册之西溪",[7,23,29,173,177,81,226,109,175,176,34,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffae0634223bab0bddda020aa4d2825f9.jpg",[],{"id":24892,"slug":24893,"title":24894,"dynasty":18,"author":5270,"museum":447,"description":24895,"tags":24896,"thumbUrl":24897,"material":123,"size":24898,"collection":42,"collections":24899,"showCount":24613,"zanCount":1337,"manualWeight":48,"mainColor":49},219730,"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[7,23,24,25,244,27,29,106,107,175,34,108,109,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[42],{"id":24901,"slug":24902,"title":24903,"dynasty":189,"author":278,"museum":78,"description":24904,"tags":24905,"thumbUrl":24906,"material":123,"size":24907,"collection":90,"collections":24908,"showCount":24613,"zanCount":2209,"manualWeight":48,"mainColor":49},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[7,4472,209,23,24,83,28,27,2380,2053,384,282,283,12037,1628,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[90],{"id":24910,"slug":24911,"title":24912,"dynasty":189,"author":9788,"museum":206,"description":24913,"tags":24914,"thumbUrl":24915,"material":409,"size":24916,"collection":90,"collections":24917,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[7,23,209,225,173,28,83,9248,226,370,266,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[90],{"id":24919,"slug":24920,"title":24921,"dynasty":18,"author":4966,"museum":206,"description":24922,"tags":24923,"thumbUrl":24924,"material":409,"size":24925,"collection":181,"collections":24926,"showCount":24613,"zanCount":48,"manualWeight":48,"mainColor":49},219183,"han-yan-ji-xue-tu-yan-su-219183","寒岩积雪图","此画面上重岩积雪，亭戴雪帽，老树寒疏，山村洁白，溪水冰结，孤舟停泊，却在旁边水岸两旁架有一座木桥，桥上有策杖、挑担二人，给雪景去掉几分寒意，而带来了几分情趣，虽是一派万丈雪崖、冰冻二尺的寒冷景象，但也是着浓厚的生活情调。鉴藏玺印有：“乾隆御览之宝”、“乾隆鉴赏”、五玺全、“宝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slug":25077,"title":20085,"dynasty":76,"author":1047,"museum":311,"description":25078,"tags":25079,"thumbUrl":25080,"material":139,"size":139,"collection":139,"collections":25081,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},231034,"mo-he-tu-zhu-da-231034","《墨荷图》是清代石涛创作的纸本墨笔画。\n图绘欣欣向荣的荷塘景色。\n构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。\n用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。\n钤白文印二方：“靖江后人”、“大涤堂”。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n石涛（1642—约1718年），俗姓朱，明宗室靖江王朱赞仪十世孙，谱名若极，广西桂林人。\n明灭亡后，出家为僧，法名原济，字石涛，号清湘老人、苦瓜和尚等。\n工于诗文，擅绘山水、兰竹、花草及人物。\n其笔情纵恣凝炼，独具创新，对扬州画派和近、现代中国画的影响极大。\n与清初画坛朱耷、髡残、弘仁合称“清四僧”，著有《苦瓜和尚画语录》，针对画坛时弊提出诸多精辟见解。",[7,23,24,209,225,173,83,227,136,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1fc908bf2c25b01fd7e185665cc123.jpg",[],{"id":25083,"slug":25084,"title":25085,"dynasty":76,"author":8011,"museum":311,"description":25086,"tags":25087,"thumbUrl":25088,"material":139,"size":139,"collection":139,"collections":25089,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":49},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[7,23,24,225,26,27,28,104,29,106,107,1365,176,109,1267,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":25091,"slug":25092,"title":25093,"dynasty":99,"author":100,"museum":311,"description":25094,"tags":25095,"thumbUrl":25096,"material":2164,"size":2165,"collection":139,"collections":25097,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":94},228438,"lin-guan-xiu-bai-miao-luo-han-tu-juan-chou-ying-228438","临贯休白描罗汉图卷","所绘罗汉,有的庞眉大目,有的高颧隆鼻,面貌都是“胡貌梵相”,这种奇异之相,立意免俗。",[7,23,24,25,244,105,243,106,18311,8436,11064,808,176,2279,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f322aff8127d791c2c05a48d900a610.jpg",[],{"id":25099,"slug":25100,"title":25101,"dynasty":18,"author":886,"museum":311,"description":8055,"tags":25102,"thumbUrl":25103,"material":139,"size":139,"collection":139,"collections":25104,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":255},227689,"shi-long-tu-juan-chen-rong-227689","十龙图卷",[7,23,24,25,173,433,29,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6cf259cdc833e34e4a030ea74ea01f.jpg",[],{"id":25106,"slug":25107,"title":25108,"dynasty":3895,"author":278,"museum":311,"description":25109,"tags":25110,"thumbUrl":25112,"material":25113,"size":25114,"collection":2097,"collections":25115,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},226538,"he-luo-qi-zi-wen-ti-shou-xing-tu-bei-yi-ming-226538","河洛七字文体寿星图碑","此作为书画合璧的巧思之作，将七字隐于寿星形貌之中。线条圆融苍劲，带着篆籀古意，勾勒出寿星鹤发童颜、飘然出尘的仙姿，字与形浑然相融，不见割裂痕迹。\n河洛玄思暗藏笔墨，题跋诗文呼应主题，把福寿祈愿与道家哲思藏于一笔一划间，观览时可在赏形品字之际，体悟这份出世寄怀的雅致意趣，尽显古人构思的精妙绝伦。",[7,620,86,106,1163,25111],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17f6670e014bfaf32f07f4aa4e3eaa5.jpg","拓片","64.36*116.38厘米",[2097],{"id":25117,"slug":25118,"title":25119,"dynasty":76,"author":16577,"museum":6249,"description":25120,"tags":25121,"thumbUrl":25122,"material":527,"size":25123,"collection":181,"collections":25124,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":94},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[7,23,27,177,225,29,176,109,174,1365,692,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 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御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[7,23,173,29,174,226,384,176,2310,263,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[181,163],{"id":25169,"slug":25170,"title":10657,"dynasty":99,"author":25171,"museum":1279,"description":25172,"tags":25173,"thumbUrl":25174,"material":67,"size":25175,"collection":181,"collections":25176,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":49},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[7,23,25,27,177,28,29,175,108,109,107,34,176,35,118,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[181,163],{"id":25178,"slug":25179,"title":25180,"dynasty":189,"author":23683,"museum":206,"description":25181,"tags":25182,"thumbUrl":25183,"material":573,"size":25184,"collection":181,"collections":25185,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},221823,"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[7,23,173,177,225,29,1365,174,106,109,866,1423,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[181,163],{"id":25187,"slug":25188,"title":25189,"dynasty":189,"author":17471,"museum":78,"description":25190,"tags":25191,"thumbUrl":25192,"material":16468,"size":25193,"collection":163,"collections":25194,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},221804,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-221804","枯木竹石图轴","绘枯木一棵，两枝树杆粗壮，枝杈繁多，恣意生长；树旁巨石耸立，棱角圆润；右侧淡墨绘一棚细竹，竹叶修长秀美，生机勃勃。李士行，字遵道，元代画家，善山水，尤工竹石更妙。绢本。墨笔。 此图绘古木两棵，形态苍古。树石的用笔遒劲深厚，皴染稠密。细枝勾勒形似蟹爪。笔墨苍劲磊落。",[7,23,24,209,225,173,451,226,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68d8fcc18ebecda8e22a95bd2ea3474.jpg","170x52cm",[163,1896],{"id":25196,"slug":25197,"title":25198,"dynasty":18,"author":1395,"museum":20,"description":25199,"tags":25200,"thumbUrl":25201,"material":25202,"size":25203,"collection":139,"collections":25204,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":94},221581,"cai-wei-tu-juan-quan-juan-li-tang-221581","采薇图卷全卷","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[7,23,25,173,27,106,29,34,558,177,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f5d231ca2edb3f9d85a65a937277ec.jpg","绢本，水墨淡设色","纵27.2厘米，横90.5厘米",[],{"id":25206,"slug":25207,"title":25208,"dynasty":18,"author":418,"museum":311,"description":25209,"tags":25210,"thumbUrl":25211,"material":67,"size":139,"collection":42,"collections":25212,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},221321,"shan-ying-tu-ye-zhao-ji-221321","山鹰图页","宋徽宗赵佶（1082年11月2日-1135年6月4日），号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[7,209,23,24,81,28,27,266,865,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[42,90,45],{"id":25214,"slug":25215,"title":25216,"dynasty":18,"author":7779,"museum":206,"description":7780,"tags":25217,"thumbUrl":25218,"material":573,"size":25219,"collection":42,"collections":25220,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴",[7,23,24,104,225,27,28,106,107,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[42,44,45],{"id":25222,"slug":25223,"title":25224,"dynasty":18,"author":323,"museum":311,"description":25225,"tags":25226,"thumbUrl":25227,"material":20666,"size":25228,"collection":328,"collections":25229,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":94},221271,"chi-du-quan-ce-huang-ting-jian-221271","尺牍全册","黃庭堅（1045年6月12日—1105年9月30日），字魯直，乳名繩權，號清風閣、山谷道人、山谷老人、涪翁、涪皤、黔安居士、八桂老人，世稱黃山谷、黃太史、黃文節、豫章先生。宋江南西路洪州府分寧人（今江西省九江市修水縣）人。祖籍浙江省金華市。北宋詩人黃庶之子，南宋中奉大夫黃相之父。北宋大孝子，《二十四孝》中“滌親溺器”故事的主角。北宋著名文學家、書法家、江西詩派開山之祖。\n黃庭堅在詩、詞、散文、書、畫等方面取得很高成就。黃庭堅與張耒、晁補之、秦觀都遊學於蘇軾門下，合稱為“蘇門四學士”。黃庭堅的詩，被蘇軾稱為“山谷體”。黃庭堅的書法獨樹一格，自成一家，他和北宋書法家蘇軾、米芾和蔡襄齊名，世稱為“宋四家”。在文學界，黃庭堅生前與蘇軾齊名，時稱“蘇黃”。作品有《山谷詞》《豫章黃先生文集》等。\n治平四年（1067年），黃庭堅進士及第，歷任葉縣縣尉、北京國子監教授、泰和縣知縣、德平鎮監、秘書省校書郎、《神宗實錄》編修官、集賢校理、國史局編修官、起居舍人、宣州知州、鄂州知州、涪州別駕、宣議郎監鄂州、奉議郎兼寧國軍判官、朝奉郎兼舒州知州、吏部員外郎、太平州知州等職。1105年，黃庭堅病逝於宜州南樓，享年61歲。而後，宋高宗追贈黃庭堅為“龍圖閣大學士”。1265年，宋度宗追贈黃庭堅諡號：文節。黃庭堅一生為官清正，治學嚴謹，以文壇宗師、孝廉楷模垂範千古。",[7,24,86,178,81,263,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516ad2358344b02e001f0260a856c627.jpg","27.8cm×47.4cm",[328],{"id":25231,"slug":25232,"title":25233,"dynasty":99,"author":2494,"museum":222,"description":25234,"tags":25235,"thumbUrl":25236,"material":1271,"size":25237,"collection":181,"collections":25238,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":94},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[7,209,23,24,25,173,177,29,734,282,34,263,86,178,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[181,45],{"id":25240,"slug":25241,"title":25242,"dynasty":76,"author":25243,"museum":8393,"description":25244,"tags":25245,"thumbUrl":25246,"material":409,"size":25247,"collection":163,"collections":25248,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":94},220418,"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[7,23,173,177,24,29,175,34,1365,176,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[163,181],{"id":25250,"slug":25251,"title":25252,"dynasty":18,"author":278,"museum":206,"description":25253,"tags":25254,"thumbUrl":25256,"material":123,"size":25257,"collection":42,"collections":25258,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":94},220386,"wu-kuan-li-hua-qu-yu-yi-ming-220386","无款梨花鸲鹆","此作尽显宋代工笔花鸟精妙意趣，墨色绘就的鸲鹆立于花枝，羽色浓淡层叠晕染，将玄色羽毛的绒软光泽尽数勾勒，明黄爪眼提亮画面，灵动仿若正引吭啼鸣，瞬间的生机被定格尺幅之间。\n\n淡粉晕出梨花清透柔润，留白托出瓣边莹白，苍劲枝桠衬得禽鸟愈发神完气足。古旧绢面晕开岁月沉香，却未掩画师对自然的入微体察。笔意简淡清雅，以小见大，将春日枝间融融春意凝练其中，静中藏动，尽显宋人雅致审美的悠悠余韵。",[7,209,23,24,28,27,83,1409,25255,926],"鸲鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25127c3e83af8c31239f09f1f2372412.jpg","25.3x29.8厘米",[42],{"id":25260,"slug":25261,"title":25262,"dynasty":99,"author":862,"museum":447,"description":25263,"tags":25264,"thumbUrl":25265,"material":123,"size":25266,"collection":181,"collections":25267,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多",[7,23,24,29,27,177,1775,468,174,60,34,176,770,2019,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[181],{"id":25269,"slug":25270,"title":25271,"dynasty":99,"author":25272,"museum":447,"description":25273,"tags":25274,"thumbUrl":25275,"material":327,"size":25276,"collection":181,"collections":25277,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},219734,"xie-qin-fang-you-tu-jiang-song-219734","携琴访友图","蒋嵩","此作用高远之法构景，主峰拔地参天，以水墨晕染出漫山烟霭，远景山峦隐没在空蒙雾气里，晕染出萧疏冷寂的天地氛围。\n\n近岸枯木虬曲苍劲，枯枝硬挺如戟，笔力老辣苍拙，尽显荒寒之态。下方旅人策杖徐行，仆从携琴缓步郊野，渺小身影衬出山川寥廓，暗合寻幽访友的雅意。\n\n全幅以浓淡水墨铺陈，简淡间尽显沉郁苍茫，将林泉寄怀的隐逸之思藏在烟岚丘壑中，纵放笔意里裹挟含蓄悠邈的林下闲情，尽显淡远疏离的山水意境。",[7,23,24,225,173,177,29,106,866,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537ec875cb6c627561f0a23bede3fac.jpg","纵148.6横89.4厘米",[181],{"id":25279,"slug":25280,"title":25281,"dynasty":189,"author":23683,"museum":206,"description":25282,"tags":25283,"thumbUrl":25284,"material":123,"size":139,"collection":181,"collections":25285,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":94},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[7,23,24,1352,173,177,29,1365,109,106,210,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[181],{"id":25287,"slug":25288,"title":25289,"dynasty":76,"author":25290,"museum":20,"description":25291,"tags":25292,"thumbUrl":25293,"material":123,"size":25294,"collection":44,"collections":25295,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":49},219102,"kang-xi-di-bian-zhuang-xie-zi-xiang-gong-ting-hua-jia-219102","康熙帝便装写字像","宫廷画家","图中康熙帝身穿便装，左手轻按平铺于方桌上的白纸，右手提笔正欲习字，身后屏风上的墨龙暗示着王者尊贵的地位。以特色透视技法画出的方桌与用欧洲焦点透视法描绘的屏风座形成了场景中能够调和的冲突。由此无法判断出，这幅佳作绘制于西风东渐的初期，是一位学习过西方画法、但又没有彻底明了其透视原理的宫廷作家所构思的。虽然此画存在不协调的现象，但它仍然是中西绘画交流、碰撞下的有趣的作品，值得我们进一步探究和分析。",[7,23,28,27,106,433,4420,1115,1116,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a24ed93f8ff588cb1d9dfc78cc5cfa.jpg","纵50.5厘米，横31.9厘米",[44],{"id":25297,"slug":25298,"title":25299,"dynasty":18,"author":7741,"museum":206,"description":25300,"tags":25301,"thumbUrl":25302,"material":123,"size":25303,"collection":181,"collections":25304,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":94},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[7,209,23,24,1352,173,27,177,29,109,174,13661,34,2019,468,1776,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[181,42],{"id":25306,"slug":25307,"title":25308,"dynasty":18,"author":3884,"museum":132,"description":25309,"tags":25310,"thumbUrl":25312,"material":123,"size":139,"collection":90,"collections":25313,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},218905,"yan-e-tu-cui-bai-218905","雁鹅图","画面中雁鹅姿态鲜活，羽翼层叠间细笔勾出绒羽的蓬松质感，白绒与墨羽晕染过渡自然，红掌轻点地面似欲移步，尽显禽鸟灵动之态。旁侧水草以疏朗线条勾勒，叶片随风摇曳如含生机，与雁鹅的写实刻画相映成趣。古绢底色沉雅温润，衬得物象愈发鲜活，打破了宋初院体画的刻板拘谨，透出自然野趣。整作以写生为基，笔墨兼具工致与意趣，将禽鸟的鲜活与草木的清逸融于方寸纨扇，于细微处见生机盎然，尽显宋代画坛新风韵。",[7,23,24,1352,27,28,83,25311,3899,229,2310],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[90],{"id":25315,"slug":25316,"title":25317,"dynasty":18,"author":278,"museum":206,"description":25318,"tags":25319,"thumbUrl":25320,"material":123,"size":25321,"collection":90,"collections":25322,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":94},218737,"xiang-shi-chui-jin-tu-yi-ming-218737","香实垂金图","它被画上了两个金灿灿的橙子，树枝经过精心挑选，给人以秋天水果的香味。这幅画被倒置装裱，观看时可以用旋钮转动。",[7,209,23,24,81,28,27,83,2267,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d905cd84a86e927d93aef90fabb11.jpg","24.3x27.5",[90],{"id":25324,"slug":25325,"title":1462,"dynasty":18,"author":1419,"museum":5803,"description":25326,"tags":25327,"thumbUrl":25328,"material":123,"size":25329,"collection":181,"collections":25330,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},218665,"shan-shui-tu-ma-yuan-218665","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[7,23,24,225,27,177,29,107,108,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[181],{"id":25332,"slug":25333,"title":25334,"dynasty":99,"author":1150,"museum":20,"description":25335,"tags":25336,"thumbUrl":25337,"material":123,"size":25338,"collection":181,"collections":25339,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[7,23,29,27,173,177,34,266,174,108,109,175,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[181],{"id":25341,"slug":25342,"title":25343,"dynasty":76,"author":582,"museum":447,"description":4491,"tags":25344,"thumbUrl":25345,"material":123,"size":4494,"collection":139,"collections":25346,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":94},218329,"shen-xian-gu-shi-tu-ce-8-leng-mei-218329","神仙故事图册-8",[7,23,209,27,28,106,59,13899,2279,81,436,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd518a2424dfa8a7b97c0876e9d26a005.jpg",[],{"id":25348,"slug":25349,"title":25350,"dynasty":189,"author":767,"museum":132,"description":25351,"tags":25352,"thumbUrl":25353,"material":123,"size":25354,"collection":181,"collections":25355,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[7,23,24,25,173,27,177,178,263,86,29,107,108,109,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[181],{"id":25357,"slug":25358,"title":25359,"dynasty":99,"author":25360,"museum":206,"description":25361,"tags":25362,"thumbUrl":25364,"material":88,"size":25365,"collection":44,"collections":25366,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":49},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[7,23,24,28,27,243,106,150,384,29,176,1003,31,263,3609,25363],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[44],{"id":25368,"slug":25369,"title":25370,"dynasty":18,"author":676,"museum":311,"description":25371,"tags":25372,"thumbUrl":25373,"material":67,"size":139,"collection":42,"collections":25374,"showCount":25029,"zanCount":48,"manualWeight":48,"mainColor":94},216911,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-216911","万方职贡图全卷","万方职贡图全卷是宋朝时期由李公麟编写的一部职贡图书。这本书是在宋朝时期编写的，主要记录了宋朝时期各级官员的职贡规定以及他们的权力和职责。这本书是宋朝时期的一部重要史料，可以为我们了解宋朝时期的政治体制、官员制度以及官员的权力和职责提供重要的参考。",[7,209,23,24,25,244,106,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552a9310b7ab1d2dce73c8120542c88b.jpg",[42],{"id":25376,"slug":25377,"title":25378,"dynasty":18,"author":278,"museum":1098,"description":25379,"tags":25380,"thumbUrl":25381,"material":123,"size":25382,"collection":181,"collections":25383,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":49},214830,"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[7,23,24,225,173,177,29,557,34,466,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[181],{"id":25385,"slug":25386,"title":25387,"dynasty":99,"author":25388,"museum":1098,"description":25389,"tags":25390,"thumbUrl":25391,"material":88,"size":25392,"collection":181,"collections":25393,"showCount":25029,"zanCount":2209,"manualWeight":48,"mainColor":94},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[7,23,24,225,173,177,29,866,1423,108,109,150,106,176,34,263,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[181],{"id":25395,"slug":25396,"title":25397,"dynasty":54,"author":2644,"museum":311,"description":25398,"tags":25399,"thumbUrl":25400,"material":2164,"size":2165,"collection":139,"collections":25401,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":49},290239,"wan-shan-ji-xue-tu-wang-wei-290239","万山积雪图","王维（701年—761年），字摩诘，号摩诘居士。河东蒲州（今山西永济）人，祖籍山西祁县。唐朝诗人、画家。\n王维出身河东王氏，于唐玄宗开元九年（721年）中进士第，为太乐丞。历官右拾遗、监察御史、河西节度使判官。天宝年间，拜吏部郎中、给事中。安禄山攻陷长安时，被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，世称“王右丞”。\n王维参禅悟理，精通诗书音画，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，因笃诚奉佛，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。著有《王右丞集》《画学秘诀》，存诗约400首。北宋苏轼评云：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”",[7,209,23,25,29,2019,7577,109,34,175,177,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784f5c4fab22ae5e6ea7f75c69dcfa56.jpg",[],52,{"id":25404,"slug":25405,"title":276,"dynasty":18,"author":278,"museum":311,"description":25406,"tags":25407,"thumbUrl":25408,"material":2164,"size":2165,"collection":139,"collections":25409,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":49},289879,"shui-yue-guan-yin-tu-yi-ming-289879","水月观音的形象，最早始于中唐时期，据张彦远《历代名画记》 ，为周昉(约730-800)所创，「菩萨端严，妙创水月之体」。周昉所画，「掩障菩萨圆光及竹，并是刘整成色。」后朱景玄《唐朝名画录》及《太平广记》均有类似记载，唯其画无传。现存最早的水月观音画，见于敦煌莫高窟《千手千眼观音菩萨坐像》，水月观音位于该画右下角，绘成于九四三年，现藏法国吉美博物馆。画中观音右手持柳枝，左手托净瓶，坐姿呈半跏思维相；周围泉水萦映，背倚修竹。观音头饰宝冠，身披璎珞，富丽华美，法相庄严。",[7,23,209,225,243,244,173,106,1553,285,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],{"id":25411,"slug":25412,"title":25413,"dynasty":76,"author":803,"museum":311,"description":1453,"tags":25414,"thumbUrl":25416,"material":2164,"size":2165,"collection":139,"collections":25417,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":94},289652,"chun-hua-ti-niao-jing-xin-ren-yi-289652","春花啼鸟镜心",[7,23,12737,83,27,28,266,25415,263],"春花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3419b0daa27ad6da934e8775bd43d751.jpg",[],{"id":25419,"slug":25420,"title":25421,"dynasty":18,"author":18486,"museum":311,"description":25422,"tags":25423,"thumbUrl":25425,"material":2164,"size":2165,"collection":139,"collections":25426,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":94},289350,"sha-ting-yan-shu-tu-hui-chong-289350","沙汀烟树图","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[7,23,1218,24,173,178,263,86,866,266,25424,23401],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445107f68aa7c5aafbac1748922679d9.jpg",[],{"id":25428,"slug":25429,"title":25430,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":25431,"thumbUrl":25432,"material":2164,"size":2165,"collection":139,"collections":25433,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":94},288529,"ci-hua-ruo-lao-shi-yi-tu-zhou-wu-chang-shuo-288529","此花若老诗意图轴",[7,23,225,173,27,83,369,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f598f5c457146f401751b0950996e9f.jpg",[],{"id":25435,"slug":25436,"title":25437,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":25438,"thumbUrl":25439,"material":2164,"size":2165,"collection":139,"collections":25440,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":94},288503,"hua-jing-xin-zhu-da-288503","花镜心",[7,23,24,173,400,83,407,12739,12737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50301a88975470b059a690f4e7e4b83.jpg",[],{"id":25442,"slug":25443,"title":25444,"dynasty":76,"author":278,"museum":311,"description":25445,"tags":25446,"thumbUrl":25447,"material":2164,"size":2165,"collection":139,"collections":25448,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":49},288235,"fang-chen-rong-qun-long-tu-yi-ming-288235","仿陈容群龙图","水墨晕染出漫天云海，群龙穿梭隐现于烟霭之间。长卷之上，下方惊涛卷浪，上方云气翻涌，龙形或探爪怒目，或摆尾盘空，姿态迥异，威灵毕现。作者以浓淡墨色区分虚实，云气晕染朦胧变幻，龙身勾勒精细，鳞爪筋骨分毫可见，将神龙的谲诡威严与天地交融的磅礴气韵尽数铺展。仿佛能听闻隐隐龙吟，见云浪随龙势翻涌，把神龙隐现于云水间的神秘感完美呈现，尽显画龙技法的高妙，营造出幽玄雄浑的意境，摄人心魄。",[7,23,25,173,433,2279,3191,2159,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6fc04f8b5ebd0e26fc878861835af.jpg",[],{"id":25450,"slug":25451,"title":25452,"dynasty":76,"author":10456,"museum":311,"description":25453,"tags":25454,"thumbUrl":25457,"material":2164,"size":2165,"collection":139,"collections":25458,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":94},287996,"zhuan-shu-bai-shi-cao-tang-ji-deng-shi-ru-287996","篆书白氏草堂记","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[7,86,1163,225,24,25455,25456,263],"名帖","白氏草堂记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50c5d1e16b90a9a938f5767e25d30edf.jpg",[],{"id":25460,"slug":25461,"title":25462,"dynasty":204,"author":1839,"museum":311,"description":25463,"tags":25464,"thumbUrl":25466,"material":2164,"size":2165,"collection":139,"collections":25467,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":49},287703,"hua-xia-shan-yu-yu-dong-yuan-287703","画夏山欲雨","该幅画重峦叠嶂，曲涧迤逦。作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[7,209,23,225,173,177,29,557,1082,4970,25465],"阴雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3115f2a48367716514ea86733373e74e.jpg",[],{"id":25469,"slug":25470,"title":25471,"dynasty":99,"author":10306,"museum":311,"description":10307,"tags":25472,"thumbUrl":25474,"material":2164,"size":2165,"collection":139,"collections":25475,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":94},287414,"lin-li-gong-lin-wu-bai-luo-han-tu-juan-wu-bin-287414","临李公麟五百罗汉图卷",[7,209,23,24,25,27,2158,8566,18311,1028,387,25473,176,9889,105],"猕猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649847a4103d91e1042f3e8d8a5d52a4.jpg",[],{"id":25477,"slug":25478,"title":25479,"dynasty":76,"author":963,"museum":20,"description":25480,"tags":25481,"thumbUrl":25482,"material":1271,"size":139,"collection":139,"collections":25483,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":94},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[7,23,25,173,177,178,244,29,106,174,176,34,1322,1365,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":25485,"slug":25486,"title":25487,"dynasty":18,"author":1395,"museum":25488,"description":25489,"tags":25490,"thumbUrl":25491,"material":699,"size":25492,"collection":139,"collections":25493,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":49},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[7,209,23,24,25,27,29,177,28,734,282,174,384,175,266,108,109,867,106,229,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":25495,"slug":25496,"title":25497,"dynasty":54,"author":2091,"museum":311,"description":25498,"tags":25499,"thumbUrl":25500,"material":139,"size":139,"collection":139,"collections":25501,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":49},231009,"ta-xue-xun-mei-tu-li-zhou-han-huang-231009","踏雪寻梅图立轴","淡墨晕开萧寒天地，残雪覆住荒寂山径，老梅枯桠横斜枝头，暗吐细蕊晕开浅淡生机。\n策驴人身裹绯色锦袍，在灰冷雪景中撞出融融暖意，宽斗笠掩去眉眼，只余垂敛悠然的姿态，似正循着暗香缓行。以枯淡墨色皴出山岩残雪，驴蹄轻踏积雪，寥寥数笔便勾勒出冬日清寂意趣，简淡笔触藏着雅逸文思。\n水墨铺就荒寒底色，一点艳红点亮画面，冷暖对冲间，将踏雪探春的幽居雅兴融在萧寒景致中，淡远空灵，尽显文人冬日寻幽的诗意闲情。",[7,9700,23,24,225,27,106,6926,402,1775,1542,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38b2ea6613a1a34c5f1e5c9936e5a58.jpg",[],{"id":25503,"slug":25504,"title":25505,"dynasty":18,"author":1395,"museum":311,"description":25506,"tags":25507,"thumbUrl":25508,"material":139,"size":139,"collection":139,"collections":25509,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":94},227969,"guan-mei-du-shu-tu-li-tang-227969","观梅读书图","虬曲老梅横斜而出，枝桠如屈铁般苍劲疏朗，残蕾轻缀梢头，古藤垂曳更添荒寒之致。右下角淡墨晕染出远山坡岸，幽林掩映间，坡下士人凭坐观梅静读，全然融入冷寂清旷的氛围中。\n\n笔法简劲老辣，以干湿浓淡的墨色晕染出空濛早春的清冷氛围感，留白铺陈出幽远意境。将文人耽于林泉、寄情梅下的雅趣藏于萧寒景致里，把观梅闲读的幽居况味和清雅荒寒的意境融为一体，尽显小品极简含蓄的意趣，是文人心中理想栖居图景的缩影。",[7,23,209,1352,28,173,177,29,402,866,1423,229,106,21382],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8f248e33ae44c43fac3cc6f2f01bc7.jpg",[],{"id":25511,"slug":25512,"title":25513,"dynasty":18,"author":278,"museum":311,"description":25514,"tags":25515,"thumbUrl":25517,"material":139,"size":139,"collection":139,"collections":25518,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":94},227561,"mo-zhou-fang-gong-ji-diao-qin-tu-quan-juan-yi-ming-227561","摹周昉宫妓调琴图全卷","《调琴啜茗图》，又名《弹琴仕女图》、《宫妓调琴图》，传为周昉所作，并为其仕女画的代表之作。图绘三位坐于庭院的贵妇，在两位侍女的陪伴下，或把弹调音、或托盏品茶，表现出贵族妇女闲散恬静的生活。《调琴啜茗图》现存多幅摹本，如纳尔逊-阿特金斯艺术博物馆收藏的完成于宋代的绢质摹本、弗利尔美术馆收藏的绘制于明代的纸质摹本、京都国立博物馆收藏的带有仇英款的绢质摹本。极为巧合的是辽宁省博物馆收藏有两卷《调琴啜茗图》，一件为清宫旧藏，曾经《石渠宝笈》续编著录，署款“周昉”，实为后人仿本。另一件则为清代扬州画家管希宁所摹。两件与前述作品均作同一主题内容，今展出者为清宫旧藏之本。",[7,23,209,25,105,28,27,106,59,25516,210,5310,229,384,263,65,13069],"宫妓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a8be6ac76555b6613aa727cae2fb3c.jpg",[],{"id":25520,"slug":25521,"title":25522,"dynasty":18,"author":10082,"museum":311,"description":25523,"tags":25524,"thumbUrl":25527,"material":139,"size":139,"collection":139,"collections":25528,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":49},227519,"yan-jiang-die-zhang-wang-shen-227519","烟江叠嶂","《烟江叠嶂图》是宋代画家王诜创作的一幅设色画，现藏于上海博物馆。\n《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。",[7,23,1218,25525,25,26,177,557,6868,37,25526,1082,25522],"设色画","溪瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4632dd73f474257bd583fa36c4a4a423.jpg",[],{"id":25530,"slug":25531,"title":848,"dynasty":18,"author":25532,"museum":311,"description":25533,"tags":25534,"thumbUrl":25535,"material":139,"size":139,"collection":139,"collections":25536,"showCount":25402,"zanCount":1337,"manualWeight":48,"mainColor":94},227398,"qiu-kui-tu-li-da-zhong-227398","李大忠","画面写秋葵一枝，工笔钩勒填彩。秋葵之花瓣用粉细勾，叶用重绿，重彩渲染，布局谨严，一丝不苟，姿韵生动。两朵盛开的花与疏疏的几枝叶，充分表现出秋葵的神态。该图堪称南宋院体画的精品，是南宋写生画的绝妙之作。",[7,209,23,24,1352,28,27,83,852],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20f76969895d93adc7c35e9fffc51bc.jpg",[],{"id":25538,"slug":25539,"title":25540,"dynasty":76,"author":2987,"museum":311,"description":25541,"tags":25542,"thumbUrl":25543,"material":139,"size":139,"collection":139,"collections":25544,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":94},224581,"ci-lian-tu-zhou-jiang-ting-xi-224581","赐莲图轴","此作用笔秀逸工致，瓶身釉色晕染细腻，冰裂纹饰古朴沉静，莲茎舒展挺秀，两朵白莲瓣脉柔润，清妍雅致，荷叶以浓淡墨色晕染，尽显舒展自然之态，将芙蕖出尘之姿与清供古雅之美相融。左上题字清雅舒展，与画面相得益彰，兼具院体工笔的精细工整与文人画的冲淡意趣，整体意境清逸娴静，尽显文房清供的恬淡雅致，将案头赏玩的闲情逸趣诉诸笔端，是极具意韵的写生佳作。",[7,23,225,67,28,27,136,137,8871,84,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f80e41463c6d0100002a7885112251.jpg",[],{"id":25546,"slug":25547,"title":25548,"dynasty":76,"author":3676,"museum":311,"description":4387,"tags":25549,"thumbUrl":25550,"material":699,"size":25551,"collection":328,"collections":25552,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":94},224234,"zhong-ding-wen-shu-fa-wu-chang-shuo-224234","钟鼎文书法",[7,86,1163,173,225,105,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936d07072312c8818810bc720fd43608.jpg","108X57cm",[328],{"id":25554,"slug":25555,"title":25556,"dynasty":99,"author":2902,"museum":56,"description":25557,"tags":25558,"thumbUrl":25559,"material":699,"size":25560,"collection":328,"collections":25561,"showCount":25402,"zanCount":1337,"manualWeight":48,"mainColor":94},222527,"hua-guan-yin-shu-jin-gang-jing-he-bi-quan-juan-wang-fu-222527","画观音书金刚经合璧全卷","画卷右侧绘观音画像，观音打坐念经，一旁的童子双手合十；长卷左侧以行楷书写《金钢金》全篇，字体工整温润，雅致平和。王绂，一作芾，又作黻，号九龙山人，明代画家。",[7,209,23,24,25,243,5152,173,621,106,226,29,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F493d6433218fdef685f94add11b08e75.jpg","24.6x78",[328],{"id":25563,"slug":25564,"title":25565,"dynasty":99,"author":2146,"museum":20,"description":25566,"tags":25567,"thumbUrl":25568,"material":16468,"size":25569,"collection":139,"collections":25570,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":49},222347,"pei-tai-shi-jing-tu-tang-yin-222347","沛台实景图","本幅作者自题并书七言律诗一首：“正德丙寅，奉陪大塚宰太原老先生登歌風台，謹和感古佳韻並圖其實景，呈茂化學士請教。唐寅。‘此地曾經王輦巡，比鄰爭睹帝王身。世隨邑改井猶存，碑勒風歌字失真。仗劍當時冀亡命，入關不意竟降秦。千年泗上荒台在，落日牛羊感路人。’”钤“唐居士”。另有安岐、吴璵等人收藏印记。\n唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。\n《墨缘汇观》著录。",[7,23,173,177,29,225,107,34,109,108,266,229,263,86,178,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F126f3719a8c77d49f2a16c74b15ed02a.jpg","纵26.2厘米，横23.9厘米",[],{"id":25572,"slug":25573,"title":25574,"dynasty":99,"author":100,"museum":25575,"description":25576,"tags":25577,"thumbUrl":25578,"material":1271,"size":25579,"collection":181,"collections":25580,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":255},222198,"ting-qin-ting-ruan-tu-chou-ying-222198","停琴听阮图","广州艺术博物院","图绘远处水天一色，一股瀑布倾泻而下，悬崖绝壁，山崖上绿树苍翠，岸边两位高士相向而坐，一人似弹琵巴，一人手抚古筝，认真倾听，如此在一起弹拉切磋乐艺，不亦悦乎。",[7,23,24,209,225,28,27,173,29,106,210,466,34,558,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d40b986cea8d2b9814bc4a65151a05.jpg","纵112.2，横42cm",[181,163],{"id":25582,"slug":25583,"title":25584,"dynasty":189,"author":921,"museum":206,"description":25585,"tags":25586,"thumbUrl":25587,"material":302,"size":25588,"collection":181,"collections":25589,"showCount":25402,"zanCount":1337,"manualWeight":48,"mainColor":49},221771,"heng-qin-gao-shi-tu-zhou-ren-ren-fa-221771","横琴高士图轴","老松古柏，盘生崖上。树下一人穿红袍，坐溪畔弹琴。崖壁及山石碧绿青翠，与红衣相互辉映，色彩艳丽雅致。自题：“横琴秋水拨冰弦，一曲平沙韵自然。领取此中无限乐，松枝垂露远山烟。月山老人任仁发。",[7,23,27,28,177,29,106,1365,176,22581,109,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75285fc767e213ca6f2d98a962219552.jpg","146.3×55.8",[181,45],{"id":25591,"slug":25592,"title":25593,"dynasty":18,"author":1395,"museum":20,"description":25594,"tags":25595,"thumbUrl":25596,"material":40,"size":25597,"collection":139,"collections":25598,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":49},221582,"chang-xia-jiang-si-tu-li-tang-221582","长夏江寺图","该图描绘了长江岸上群峰罗列，寺观丛林，互相映带。江水粼粼，风帆出没于其间，气势雄伟壮阔。\n用笔方硬坚重，山石峭丽雄浑，气魄雄伟，境界浩莽，用墨善用墨沉沉的、浓厚的墨韵，厚实而滋润。",[7,209,23,24,25,27,29,177,34,557,1079,9908],"https:\u002F\u002Foss.chua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书，纸本。\n纵6.7厘米，横5.7厘米。\n草书，71行596字，计（自警辞）正文44行15字，天祥跋文27行281字。\n钤“文天祥氏”朱文印，卷后有王应麟书赞语、元代蒋岩、明代万韫辉、郝智、廖驹、程启充跋文及谢昌元后人谢源小楷书谢昌元《行实》。\n以行书在此卷包首题签“文天祥书谢昌元座右铭。\n内府鉴藏。\n”下钤“神品”、“乾隆宸翰”之印。\n文天祥（126－128），原名云孙，字宋瑞，又字履善，号文山。\n吉州庐陵（今 ）人。\n南宋杰出的民族英雄和爱国诗人。\n宝祐四年（1256）年进士第一，因父丧未受官职。\n开庆 初年（1259）蒙古军攻鄂州（今 ）， 董宋臣请理宗迁都以避敌锋，文天祥上疏请斩董宋臣，以振奋人心，并献御敌之计，未被采纳。\n后历任刑部郎官，知瑞州等职。\n咸淳六年（127），因得罪奸相贾似道而遭到罢斥。\n德祐元年（1275）正月，闻元军东下，文天祥在赣州组织义军，开赴临安（今杭州，当时南宋的京城）。\n次年被任为右丞相兼枢密使。\n其时元军已进逼临安，被派往元营中谈判，遭扣留，押往北就。\n二月底，天祥与其客杜浒等十二人，夜亡入真州。\n复由海路南下，至福建与张世杰、陆秀夫等坚持抗元。\n景炎二年（1277），进兵 ，收复州县多处。\n不久，为元重兵所败，妻子儿女皆被执，将士牺牲甚众，天祥只身逃脱，乃退 继续抗 。\n后因叛徒引元兵袭击，同年十二月，在五坡岭（今广东海丰县）被俘。\n元将张弘范迫其招降张世杰，乃书《 》诗以诉之。\n末句云：“人生自古谁无死，留取丹心照汗青。\n”次年，被押送大都（今北京），囚禁四年，经历种种严酷考验，始终不屈。\n于128年从容就义，年仅47岁。\n文天祥创作了大量的诗、词和散文作品。\n其中诗作达百余首，成就很高。\n有《 》，其中有《过零丁洋》、《正气歌》等千古绝唱。",[7,86,25,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b38d55b9a799e7ddfed90fa50dcef5.jpg","纵36.7厘米，横335.7厘米",[328],{"id":25610,"slug":25611,"title":25612,"dynasty":18,"author":5925,"museum":206,"description":25613,"tags":25614,"thumbUrl":25616,"material":81,"size":25617,"collection":42,"collections":25618,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":94},221262,"xie-sheng-ying-su-ai-xuan-221262","写生罂粟","五色的蜀葵、纯白的栀子和红艳石榴花，要比罂粟花常见得多。罂粟花艳丽的“五色”，使得人们常把它与蜀葵相提并论，二者的播种和花期也都相似。宋代罂粟主要是用于食用和药材，嫩苗堪比园蔬，罂粟籽则可作粥。在现存宋代画扇中，至少可以看到两幅《罂粟花图》，台北故宫博物院藏传艾宣《写生罂粟图》尤为精彩，画中还是一枝并蒂的罂粟，显现出祥瑞之意。这些画扇，也应是宋代宫廷画家的杰作。",[7,23,209,24,81,28,27,1904,83,25615,759],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fe1801c419e7cafc2c8afc755bdcc.jpg","43x75.7",[42,90,45],{"id":25620,"slug":25621,"title":25622,"dynasty":189,"author":645,"museum":25623,"description":25624,"tags":25625,"thumbUrl":25627,"material":25628,"size":25629,"collection":328,"collections":25630,"showCount":25402,"zanCount":1337,"manualWeight":48,"mainColor":94},220836,"bei-long-geng-yun-shu-juan-zhao-meng-fu-220836","北陇耕云书卷","亳州市博物馆","该帖行草相间，其气势如大河波涛，滚滚直下，神采照人，其用笔如龙飞凤舞，转折自如，百炼刚化，为绕指柔，实为罕见，代表着赵孟頫行草书的最高水平，反复谛观，时时令人动临池之兴。",[7,24,25,178,86,173,263,2279,25626,29],"陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7104a163641e42f4f36ddf0344ee4184.jpg","青石","纵29厘米，横222厘米",[328],{"id":25632,"slug":25633,"title":14887,"dynasty":949,"author":3807,"museum":10667,"description":25634,"tags":25635,"thumbUrl":25636,"material":139,"size":139,"collection":139,"collections":25637,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":94},220547,"song-ying-tu-xu-bei-hong-220547","以浓焦墨铺写振翅飞鹰，翎羽以皴擦兼施，笔力沉雄又不失蓬松质感，利爪筋肉紧绷如凝铁，目光锐如寒钩，雄悍气势扑面而来。下方老松盘虬伸展，鳞皴枝干古拙苍劲，团簇松针攒聚如戟，尽显风霜淬炼后的坚韧。\n\n画面以留白铺就辽远虚境，衬出飞鹰俯冲的凌厉动感，水墨干湿浓淡层次分明，写意之中暗合写实精准，将猛禽的傲岸与古松的刚劲相融，托物言志，把不屈的铮铮风骨寄寓笔下，尽显襟怀气度。",[7,23,24,173,225,266,1365,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5c2f09b18339bfae82aeea79798023.jpg",[],{"id":25639,"slug":25640,"title":25641,"dynasty":949,"author":3807,"museum":3808,"description":25642,"tags":25643,"thumbUrl":25644,"material":139,"size":139,"collection":139,"collections":25645,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":94},220544,"ri-zhang-ru-xiao-nian-xu-bei-hong-220544","日长如小年","枯笔挥写的荻芦苍劲纵逸，斜斜探入画面，与滩头白鹅相映成趣。淡赭晕染沙汀，留白铺就鹅身绒羽，墨线勾出柔长颈颅，朱红点染喙部，将白鹅蜷卧憩息的慵懒憨态刻画得淋漓尽致。\n\n三只白鹅姿态各殊，或垂颈假寐、或侧目闲望，尽显温驯自在。萧疏野趣与悠然禽鸟融为一境，将夏日松弛悠长的闲淡氛围晕染开来。寥寥笔墨间形神兼备，把寻常小景化作充满文人意趣的诗意画面，尽显写意花鸟的通透灵动。",[7,23,173,27,400,7725,3899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5195ccc9de88a9ac26e85bceca60e03e.jpg",[],{"id":25647,"slug":25648,"title":25649,"dynasty":99,"author":5391,"museum":20,"description":25650,"tags":25651,"thumbUrl":25655,"material":327,"size":25656,"collection":181,"collections":25657,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":49},220396,"xia-yun-yu-yu-tu-liu-jue-220396","夏云欲雨图","本幅布局饱满，山峦填满大半画面，气势逼人，山体几乎全用长披麻皴，增加了画面的动感。右侧的浓云以细笔勾轮廓，淡墨渲染，生动地刻画出云朵急速翻滚变化之态。蜿蜒的山体，盘旋的山径，翻转的云朵，流动的瀑布，溅起的浪花，共同营造出深山中风云激荡、大雨欲来之势。画面最具静感的是右下角的木桥，并行平直的线条，两侧的过廊，皆增加了桥体的稳定感，而这些则更加衬托出整幅画面的撼人之气。该图画风沉郁清壮，用墨朴茂湿润，主要仿自元代吴镇，而清丽秀润之笔法则与吴镇的厚重粗犷有别。",[7,209,23,1218,173,177,557,24401,466,108,109,22539,194,34,25652,25653,25654],"风云激荡","大雨欲来","沉郁清壮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba447da9f4712e289e7effc13da529d0.jpg","纵165.7厘米，横95厘米",[181,163],{"id":25659,"slug":25660,"title":25661,"dynasty":99,"author":25662,"museum":20,"description":25663,"tags":25664,"thumbUrl":25666,"material":123,"size":25667,"collection":90,"collections":25668,"showCount":25402,"zanCount":48,"manualWeight":48,"mainColor":49},220375,"yan-long-yu-shu-tu-chen-lu-220375","烟笼玉树图","陈录","陈录，[明]生卒年不详，字宪章，以字行，号如隐居士，会稽（今浙江绍兴）人。善墨梅、松、竹、兰蕙，笔意儒雅，与王谦齐名。评者以二家虽格意不同，录笔力实过王谦。正统十一年（一四四六）尝作墨梅图。传世作品有《万玉图》、《烟笼玉树图》、《梅花图》等。《图绘宝鉴续纂》、《画史会要》、《绍兴府志》、《明画录》、《无声诗史》、《越画见闻》。\n《烟笼玉树图》中树干苍劲，绽花枝头，构图巧妙，点染精当，可谓花鸟花上品。",[7,23,173,27,225,83,402,658,1629,400,25665],"烟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62ea251e0e978b64171ad65c333d8be.jpg","纵137.5厘米，横65.4厘米",[90,45],{"id":25670,"slug":25671,"title":25672,"dynasty":189,"author":278,"museum":206,"description":25673,"tags":25674,"thumbUrl":25675,"material":123,"size":25676,"collection":181,"collections":25677,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":49},219963,"feng-yu-gui-zhou-tu-yi-ming-219963","风雨归舟图","绘风浪中艄公送客渡江的情形，主人在江阁中呈翘首企盼之态，风与浪态势十足，是元人表现风雨的佳作。",[7,23,173,225,29,174,1542,866,175,109,177,11547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c48f767776e83b70b453ae534c22dee.jpg","156.6x96.1厘米",[181],{"id":25679,"slug":25680,"title":25681,"dynasty":54,"author":278,"museum":1666,"description":25682,"tags":25683,"thumbUrl":25684,"material":409,"size":25685,"collection":328,"collections":25686,"showCount":25402,"zanCount":2209,"manualWeight":48,"mainColor":94},219859,"shi-shuo-xin-shu-juan-di-liu-can-juan-yi-ming-219859","世说新书卷第六残卷","《世说新书》是笔记小说集的一种，为中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620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[7,23,24,25,27,28,173,29,106,174,109,34,150,1231,6868,866,175,1422,3620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":25796,"slug":25797,"title":8072,"dynasty":76,"author":1929,"museum":311,"description":25798,"tags":25799,"thumbUrl":25800,"material":699,"size":25801,"collection":139,"collections":25802,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":94},232892,"hua-niao-tu-li-zhou-li-shan-232892","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[7,23,24,225,173,400,136,137,9481,83,3899,314,370,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],{"id":25804,"slug":25805,"title":25806,"dynasty":18,"author":278,"museum":206,"description":25807,"tags":25808,"thumbUrl":25809,"material":123,"size":25810,"collection":42,"collections":25811,"showCount":254,"zanCount":2209,"manualWeight":48,"mainColor":49},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[7,23,209,225,28,27,83,369,807,928,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[42],{"id":25813,"slug":25814,"title":25815,"dynasty":76,"author":25816,"museum":311,"description":25817,"tags":25818,"thumbUrl":25819,"material":2164,"size":2165,"collection":139,"collections":25820,"showCount":254,"zanCount":1337,"manualWeight":48,"mainColor":94},229055,"ai-xin-jue-luo-min-ning-shu-fa-dui-lian-he-ji-qian-nian-song-he-wan-gu-min-ning-229055","爱新觉罗·旻宁书法对联鹤箕千年松鹤万古","旻宁","清宣宗爱新觉罗·旻宁（1782年9月16日—1850年2月25日），原名绵宁，清朝第八位皇帝，定都北京后的第六位皇帝。生于紫禁城撷芳殿中所。年号道光。清仁宗嘉庆皇帝第二子",[7,24,86,225,7024,178,263,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7687407d9ad23419eab296631444583.jpg",[],{"id":25822,"slug":25823,"title":25824,"dynasty":189,"author":1988,"museum":311,"description":25825,"tags":25826,"thumbUrl":25827,"material":2164,"size":2165,"collection":139,"collections":25828,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":94},228264,"you-gu-xian-chun-ce-ye-wang-mian-228264","幽谷先春册页","三阳腊底渐敷宣，幽谷寒梅得气先；吐萼独标百花首，含苞已露早春前。琼姿应是瑶台侣，玉骨欣逢阆苑仙；诗兴漫从雪中觅，画图省识冷香传。款：嘉庆甲子新正上澣御题。钤印二：嘉。庆。",[7,209,23,24,81,173,402,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71783c73ddb4cf2c5ef39924e309c3a.jpg",[],{"id":25830,"slug":25831,"title":25832,"dynasty":189,"author":23710,"museum":311,"description":25833,"tags":25834,"thumbUrl":25835,"material":2164,"size":2165,"collection":139,"collections":25836,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":94},228159,"yu-shan-hua-niao-tu-ce-gu-ying-228159","玉山 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清新，了解之深厚，是后世无可比拟的。",[7,209,23,24,4850,28,27,83,84,4293,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],{"id":25846,"slug":25847,"title":9268,"dynasty":204,"author":4074,"museum":206,"description":25848,"tags":25849,"thumbUrl":25851,"material":139,"size":139,"collection":139,"collections":25852,"showCount":254,"zanCount":2209,"manualWeight":48,"mainColor":49},227260,"shan-zhe-ji-que-tu-huang-ju-cai-227260","《山鹧棘雀图》是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[7,28,27,83,266,229,4272,558,370,7803,25850],"荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e4895995ba64cb331932d19a89e33a.jpg",[],{"id":25854,"slug":25855,"title":25856,"dynasty":76,"author":963,"museum":311,"description":25857,"tags":25858,"thumbUrl":25859,"material":139,"size":139,"collection":139,"collections":25860,"showCount":254,"zanCount":1314,"manualWeight":48,"mainColor":94},224521,"shan-shui-tu-ce-8-kai-7-shi-tao-224521","山水图册8开-7","此作以高远之法取景，陡崖奇崛凌霄，枯笔皴擦写出山石嶙峋肌理，勾勒出峭拔苍劲的山势。崖畔林麓隐着古寺，山道间策杖行旅徐行，松下石台点缀幽境，留白处淡墨晕染云海，虚实相生，漾出空山幽寂之韵。\n\n笔墨干湿互用，松针勾勒劲挺老辣，题款小字清隽雅致，朱红印章点染提亮，既有黄山风骨，又自具萧散疏朗的文人意趣，将天地浩渺与林泉幽怀相融，藏着以造化为师的灵思，尽显山水间悠然淡远的禅意。",[7,209,23,24,81,173,27,177,29,106,34,176,37,107,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a6020bb641d0c028408138c6b6de59.jpg",[],{"id":25862,"slug":25863,"title":25864,"dynasty":277,"author":278,"museum":311,"description":25865,"tags":25866,"thumbUrl":25867,"material":2164,"size":2165,"collection":139,"collections":25868,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":49},223656,"shi-jia-mu-ni-fu-tu-yi-ming-223656","释迦牟尼佛图","释迦牟尼，佛教创始人。姓乔答摩，名悉达多。“释迦牟尼”（Śākyamuni）是佛教徒对他的尊称。释迦，种族名，意为“能”；牟尼，亦译为“文”，是尊称，意为“仁”、“儒”、“忍”、“寂”。合为“能仁”、“能儒”、“能忍”、“能寂”等，意即释迦族的“圣人”。",[7,23,24,27,106,243,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cc36a64a84fc986ad994576078d911.jpg",[],{"id":25870,"slug":25871,"title":25872,"dynasty":18,"author":278,"museum":206,"description":25873,"tags":25874,"thumbUrl":25877,"material":25878,"size":25879,"collection":139,"collections":25880,"showCount":254,"zanCount":2209,"manualWeight":48,"mainColor":629},223437,"song-xiu-ju-hua-lian-er-zhou-yi-ming-223437","宋绣菊花廉（二）轴","通幅以沉暗墨色为底，金针彩线织就案头秋供盛景。主株菊丛葳蕤繁茂，团花如簇，瓣层叠似凝霜聚雪，花叶以套色勾勒晕染，明暗过渡自然，将秋菊的清隽风骨尽数铺展。四周蝶影轻翩，细碎蜂蝶点染虚空，为静雅画面添上灵动生机。\n\n下方朱漆条案承托主盆，两侧配衬小花盆栽，章法端严对称，尽显宋人居室清供的雅致意趣。绣工精绝，戗色、盘金技法交织，针脚细密匀整，丝绒光泽晕开花鸟雅韵，静穆晕着秋日庭间的清寂诗意，尽显宋人尚雅的审美意趣。",[7,1004,9935,28,27,225,692,512,25875,84,284,83,3790,228,25876],"花盆","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36b2a6209c7a620404ab879a6cb7f2c.jpg","轴绢本","150.4x64厘米",[],{"id":25882,"slug":25883,"title":25884,"dynasty":99,"author":278,"museum":206,"description":25885,"tags":25886,"thumbUrl":25887,"material":573,"size":25888,"collection":139,"collections":25889,"showCount":254,"zanCount":2209,"manualWeight":48,"mainColor":49},223375,"chu-jing-tu-yi-ming-223375","出警图","此卷全本共两件，《出警图》和《入跸图》，皇帝出京称出警，回京称入跸。此图卷描绘明世宗由陆路谒陵的情景。庞大的皇家谒陵队伍，由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[7,23,24,25,27,28,106,150,29,34,4140,4174,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","92.1×2601.3cm",[],{"id":25891,"slug":25892,"title":25893,"dynasty":99,"author":3908,"museum":206,"description":25894,"tags":25895,"thumbUrl":25896,"material":527,"size":25897,"collection":181,"collections":25898,"showCount":254,"zanCount":2209,"manualWeight":48,"mainColor":49},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[7,23,225,1218,27,177,5891,30,34,1365,1087,1079,176,37,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 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27.3",[90,45],{"id":25919,"slug":25920,"title":25921,"dynasty":18,"author":2039,"museum":1666,"description":25922,"tags":25923,"thumbUrl":25925,"material":6707,"size":25926,"collection":42,"collections":25927,"showCount":254,"zanCount":2209,"manualWeight":48,"mainColor":49},221494,"long-gu-che-tu-li-song-221494","龙骨车图","李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》、《水殿招凉图》，《观潮图》、《西湖图》、《仙山瑶涛图》，《骷髅幻戏图》、《观灯图》、《柳塘聚禽图》、《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[7,23,28,27,104,25924,151,106,228],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","25.626.4cm",[42,44,163],{"id":25929,"slug":25930,"title":25931,"dynasty":18,"author":2039,"museum":206,"description":25932,"tags":25933,"thumbUrl":25935,"material":712,"size":25936,"collection":42,"collections":25937,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":49},221489,"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[7,23,27,104,29,107,174,285,34,25934,263],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[42,181,45],{"id":25939,"slug":25940,"title":25941,"dynasty":18,"author":17774,"museum":20,"description":25942,"tags":25943,"thumbUrl":25944,"material":699,"size":25945,"collection":139,"collections":25946,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":94},221232,"dao-fu-zan-juan-quan-juan-di-yi-duan-fan-zhong-yan-221232","道服赞卷全卷-第一段","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。",[7,209,24,25,621,86,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bcbaa000d4b623b9df17446a27bebd.jpg","34.8*47.9cm",[],{"id":25948,"slug":25949,"title":25950,"dynasty":54,"author":616,"museum":20,"description":7566,"tags":25951,"thumbUrl":25952,"material":699,"size":25953,"collection":328,"collections":25954,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":629},221055,"zheng-zuo-wei-tie-cang-ben-quan-juan-yan-zhen-qing-221055","争座位帖藏本全卷",[7,86,178,620,25,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19720981560762221af62aac56dad7b8.jpg","38x370cm",[328,2097],{"id":25956,"slug":25957,"title":12054,"dynasty":189,"author":645,"museum":20,"description":6819,"tags":25958,"thumbUrl":25959,"material":2465,"size":25960,"collection":163,"collections":25961,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":49},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839",[7,23,24,209,225,173,244,866,226,229,928,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[163,1896],{"id":25963,"slug":25964,"title":25965,"dynasty":99,"author":16420,"museum":7087,"description":25966,"tags":25967,"thumbUrl":25968,"material":25969,"size":25970,"collection":139,"collections":25971,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":139},220727,"qi-shi-qing-feng-tu-xia-chang-220727","奇石清风图","夏昶，字仲昭，号自在居士，江苏昆山人，以其墨竹闻名。自北宋文同以来，士大夫因竹具有劲节、虚心、傲霜等特性，常画写墨竹以寄兴。夏昶画竹主要学自王绂，亦多留有以王绂「墨竹山水」构图画成的作品。然夏昶笔墨的浓淡对比较王绂更为强烈，且所绘物象更重视几何造型趣味，其近乎平面的山石形态尤为明显。虽然明人曾评夏昶的竹石亚于其师王绂，但夏昶竹的画名仍远播朝鲜、日本。当时甚至流传有「夏卿一个竹，西凉十锭金」的说法，其竹画广受欢迎的程度，可见一斑。\n\n此画绘奇石从坡岸斜出，后有竹子数株。奇石形状方整，石面遍施墨染，轮廓以较深墨笔勾出，间以侧笔劈坎出岩面质理。画中的倒「丌」字型竹节与呈「个」字「人」字层层交叠的竹叶画法，亦常见于王绂与夏昶的其他作品中。至于远近的竹叶，则分别以浓淡不同之墨色画出。前景竹干随风向右侧倾斜，加上竹梢叶片的转折与叶片的燕尾，更加强了风势的效果。如此充满韵律与生趣的笔墨构图，正是夏昶晚期作品的特征。据画中所钤「太常少卿之章」印推测，作品应绘成于夏昶领有太常少卿衔之时，即1452年至1457年间。",[7,23,24,225,173,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ceaf4691d89c984035a74bab12310a.jpg","水墨,绢本,立轴","画心：172.5 × 86.2厘米装裱：269.3 × 103.3厘米",[],{"id":25973,"slug":25974,"title":25975,"dynasty":76,"author":25976,"museum":1279,"description":25977,"tags":25978,"thumbUrl":25979,"material":327,"size":25980,"collection":181,"collections":25981,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":49},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[7,23,24,1218,225,27,177,107,108,109,174,34,176,35,111,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[181],{"id":25983,"slug":25984,"title":25985,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":25986,"thumbUrl":25988,"material":88,"size":1533,"collection":139,"collections":25989,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":94},220018,"dong-zhuang-tu-ce-zhi-zhu-tian-shen-zhou-220018","东庄图册之竹田",[7,23,173,29,226,81,177,25987,35,1267,1265,11241,6870],"田地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e87a0381a50c5450296ebf70e92533.jpg",[],{"id":25991,"slug":25992,"title":25993,"dynasty":189,"author":9788,"museum":206,"description":25994,"tags":25995,"thumbUrl":25996,"material":27,"size":25997,"collection":90,"collections":25998,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":49},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[7,209,23,24,225,28,173,27,83,266,926,284,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[90],{"id":26000,"slug":26001,"title":26002,"dynasty":76,"author":278,"museum":132,"description":26003,"tags":26004,"thumbUrl":26005,"material":123,"size":26006,"collection":44,"collections":26007,"showCount":254,"zanCount":1104,"manualWeight":48,"mainColor":49},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[7,23,25,27,28,106,150,29,34,1127,8437,5535,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[44,181],{"id":26009,"slug":26010,"title":26011,"dynasty":277,"author":18679,"museum":222,"description":26012,"tags":26013,"thumbUrl":26014,"material":67,"size":139,"collection":181,"collections":26015,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":49},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[7,23,1218,177,27,29,107,108,109,174,176,34,175,1265,37,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[181],{"id":26017,"slug":26018,"title":26019,"dynasty":18,"author":7741,"museum":206,"description":26020,"tags":26021,"thumbUrl":26022,"material":123,"size":26023,"collection":181,"collections":26024,"showCount":254,"zanCount":2209,"manualWeight":48,"mainColor":49},218880,"fang-dai-tu-yan-wen-gui-218880","访戴图","在这幅画中，雪白的溪水无声无息，戴逵的另一处房屋隐藏在溪水边的树林中。",[7,209,23,173,27,177,1218,29,34,865,35,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40533f611ebb8113ef7135e83a646b99.jpg","22.1x24.6",[181],{"id":26026,"slug":26027,"title":26028,"dynasty":18,"author":278,"museum":78,"description":26029,"tags":26030,"thumbUrl":26031,"material":123,"size":26032,"collection":44,"collections":26033,"showCount":254,"zanCount":1337,"manualWeight":48,"mainColor":49},218588,"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[7,23,209,24,25,27,28,106,150,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[44],{"id":26035,"slug":26036,"title":26037,"dynasty":99,"author":26038,"museum":132,"description":26039,"tags":26040,"thumbUrl":26041,"material":88,"size":26042,"collection":181,"collections":26043,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":49},217062,"gao-shi-guan-pu-tu-sheng-mao-ye-217062","高士观瀑图","盛茂烨","这幅画是一块巨石耸立在瀑布上，平台上有几位高僧在观看瀑布，乐在其中。这幅画笔力雄浑，滴水不漏，有劈泉裂石之势，而其树木山石都与古人的血脉相连。",[7,23,173,27,28,177,29,106,466,108,34,558,175,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f72bd5bed6ccdc8ef477233ace97724.jpg","156x88cm",[181],{"id":26045,"slug":26046,"title":26047,"dynasty":76,"author":26048,"museum":206,"description":26049,"tags":26050,"thumbUrl":26051,"material":409,"size":26052,"collection":328,"collections":26053,"showCount":254,"zanCount":48,"manualWeight":48,"mainColor":49},214245,"li-shu-qi-yan-lian-ruan-yuan-214245","隶书七言联","阮元","此联隶书笔力沉雄如铸鼎，笔画厚拙含金石气，结体端严中见灵动。取法汉隶碑版遗意，却不泥古，每一字若老松盘根，筋骨内蕴。墨色浓淡相济，枯润交错，显书写时从容气度。联语与笔墨交融，兼具学者沉静与书家豪情，对称章法间韵致自生。清代碑学兴盛，此作正是典型体现，观之如临古碑前，朴拙雅正之美扑面而来，尽显传统书法的厚重底蕴与艺术张力，于方寸间藏千年碑版风骨。",[7,315,86,5405,7024,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c39a32dc4ddd725fe7c8d28188b7e89.jpg","124x25",[328],{"id":26055,"slug":26056,"title":26057,"dynasty":76,"author":12639,"museum":311,"description":26058,"tags":26059,"thumbUrl":26060,"material":2164,"size":2165,"collection":139,"collections":26061,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":94},290217,"shan-shui-shan-mian-2-zhang-xiong-290217","山水扇面-2","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[7,1352,23,27,151,264,8761,29,176,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88be39cdc3e376892292b3c895927355.jpg",[],50,{"id":26064,"slug":26065,"title":13639,"dynasty":18,"author":278,"museum":311,"description":26066,"tags":26067,"thumbUrl":26070,"material":2164,"size":2165,"collection":139,"collections":26071,"showCount":26062,"zanCount":1104,"manualWeight":48,"mainColor":49},289984,"bai-zi-tu-yi-ming-289984","庭院间百童嬉游，百态尽显。孩童们或组队舞狮，红帕翻飞间满是喧闹活力；或围坐博弈，蹙眉托腮憨态毕露，亦有扑蝶追跑、搭肩低语者。画面构图饱满却错落有致，细笔勾勒孩童衣衫褶皱与灵动神态，浅淡设色晕染出古雅柔润的质感。\n整作将市井婴戏的鲜活日常凝于尺幅，把稚子烂漫天真悉数铺展，暗含着对烟火盛景、多子安康的美好祈愿，尽显风俗画的细腻功力，目之所及，恍若能听见满院稚语欢声，踏入千年前的童趣庭院。",[7,23,1352,106,8652,115,27,28,26068,26069],"嬉戏","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec42fc443c5d526d45d1d3b947cf6b25.jpg",[],{"id":26073,"slug":26074,"title":26075,"dynasty":76,"author":4050,"museum":311,"description":10684,"tags":26076,"thumbUrl":26078,"material":2164,"size":2165,"collection":139,"collections":26079,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":94},288637,"huang-shan-yun-gu-si-jing-si-tu-hong-ren-288637","黄山云谷寺静思图",[7,23,209,173,29,177,34,176,225,86,263,26077],"静思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaea923c897237e0b14245625c7f0ac.jpg",[],{"id":26081,"slug":26082,"title":3005,"dynasty":18,"author":278,"museum":311,"description":26083,"tags":26084,"thumbUrl":26085,"material":2164,"size":2165,"collection":139,"collections":26086,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":629},288261,"hua-lan-tu-yi-ming-288261","竹编花篮分层编织纹理清晰，造型圆融雅致，衬着沉暗古绢底色更显质朴静穆。篮中夏花俯仰错落，硕大菡萏柔瓣舒展，莹白间晕染淡赭，尽显盛放娇柔，幽兰修长舒展、萱花缀着朱砂艳色，野逸生机暗藏其间。\n\n设色克制沉静，以淡墨晕出花叶层次，浅赭点染花梢，将夏花清妍之态悄然铺展。画作没有繁复铺陈，却以极简笔触将日常花艺升为清赏雅景，藏着以小见大的审美哲思，把寻常案头清供绘成隽永的雅致风物，尽显宋人对日常闲雅意趣的极致追寻。",[7,209,23,83,28,27,227,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32db9f97a3f2b79ae1b045d01879e2b.jpg",[],{"id":26088,"slug":26089,"title":26090,"dynasty":189,"author":767,"museum":311,"description":5567,"tags":26091,"thumbUrl":26094,"material":2164,"size":2165,"collection":139,"collections":26095,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":49},283620,"chu-jiang-jun-chu-lie-tu-juan-wang-meng-283620","楚将军出猎图卷",[7,23,25,27,106,8437,150,808,26092,176,865,26093],"猎犬","荒草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec6c80c7dc97ba90759e5c0fb4f398a.jpg",[],{"id":26097,"slug":26098,"title":26099,"dynasty":54,"author":7595,"museum":311,"description":26100,"tags":26101,"thumbUrl":26102,"material":139,"size":139,"collection":328,"collections":26103,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":49},239650,"wu-kuan-lin-yin-zhong-ba-xian-ge-juan-huai-su-239650","无款临饮中八仙歌卷","怀素（737~799），史称“草圣”，唐代杰出书法家。字藏真，僧名怀素，俗姓钱，汉族，永州零陵（湖南零陵）人，是大历十才子之一考功郎中钱起的外甥。\n自幼出家为僧，经禅之暇，锐意草书，与张旭齐名，合称“颠张狂素”，形成唐代书法双峰并峙的局面，也是中国草书史上两座高峰。怀素草书，笔法瘦劲，飞动自然，如骤雨旋风，随手万变。书法率意颠逸，千变万化，法度具备。北京大学教授、引碑入草开创者的李志敏评价：“怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。\n传世书法作品有《自叙帖》《小草千字文》纸本、《苦笋帖》《圣母帖》《论书帖》诸帖。",[7,209,23,24,25,105,86,2570,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e2b9f758d87ba9232cc8518581c6ab.jpg",[328],{"id":26105,"slug":26106,"title":5075,"dynasty":99,"author":5076,"museum":20,"description":26107,"tags":26108,"thumbUrl":26109,"material":573,"size":5080,"collection":139,"collections":26110,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":94},234190,"mei-hua-shuang-qin-juan-chen-ji-ru-234190","陈继儒字仲醇，号眉公，明代松江府华亭县（今上海）人，生于嘉靖三十七年（1558）十一月，卒于崇祯十二年（1639）。陈自幼研习书画，与董其昌同学并为一生至交，他们都是晚明名声甚隆、影响甚大的士人，但有所不同的是陈继儒年纪轻轻便放弃了仕途。\n陈继儒所处的时代是政治腐朽、党争激烈、矛盾尖锐、皇帝荒淫、社会风气堕落的晚明，他清醒地认识到再走科举一途己无多大意义，因此，毅然下定决心“谢去青襟”，隐居山林。朝廷屡次征召，他“皆以疾辞”。\n晚明时代是一个求变与保守交织的时代，从吴门画派以后，晚明绘画大致划分为两派，一是以徐渭、陈洪绶为代表的创新派，一是以董其昌为代表的书斋文人画派，这两种风格不断竞争，构成了晚明画坛的主要特点。虽然强烈的社会变革要求造就了一批卓具改革精神的画家，但是作为当时的文化主流则依然是因循保守的士大夫绘画，其代表人物就是“松江画派”的董其昌，而陈继儒所属的云间画派也是正统文人画的风向标。\n陈继儒的画风与整个晚明时代的气息显得有些格格不入，他的作品清雅脱俗，静中不显荒疏，且无不满或是失望留于画面，而是与世无争，以平和的心态面对世间百态，独辟蹊径，潜心创作，凭着自己丰富的学养在乱世中取得了书画上的成就。从流传的作品中可知陈继儒山水、梅竹作品居多。梅竹上追宋元，山水师法董巨",[7,23,24,25,27,28,402,83,266,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65883b1783be479b0e29d8bfbac1daf.jpg",[],{"id":26112,"slug":26113,"title":26114,"dynasty":54,"author":2451,"museum":20,"description":26115,"tags":26116,"thumbUrl":26117,"material":40,"size":26118,"collection":139,"co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弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[7,23,24,225,27,177,29,30,108,109,34,176,466,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":26139,"slug":26140,"title":26141,"dynasty":277,"author":26142,"museum":311,"description":26143,"tags":26144,"thumbUrl":26145,"material":2164,"size":2165,"collection":139,"collections":26146,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":94},231609,"bai-miao-shi-er-tian-tu-xiang-feng-tian-ri-ben-231609","白描十二天图像 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天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[7,23,24,27,28,83,136,137,26205,266,924,34,11679,84,1628,737,4688,4689],"天鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],{"id":26210,"slug":26211,"title":26212,"dynasty":18,"author":278,"museum":20,"description":26213,"tags":26214,"thumbUrl":26216,"material":15193,"size":26217,"collection":42,"collections":26218,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":49},223561,"you-qi-tu-juan-yi-ming-223561","游骑图卷","该卷旧传是唐人手笔，实为北宋翰林图画院某画家摹写唐代人马画的精品，显露出宋代院体细谨求实的艺术面貌，得到宋徽宗赵佶的认可。此图属行乐类题材，画7人5马，似出游狩猎。人物全身唐装，衣纹作铁线描，细劲刚挺，神情刻划细致入微，生动传神。设色极简，清淡明洁。无论是从绘画技巧，还是风格来讲，都可视为中国古典写实绘画表现鞍马题材的典范之作，与西方文艺复兴早期如鸟切诺等人的写实绘画相比，在鞍马人物形象的准确性与形体透视的生动性等方面的把握上，似乎具有更感人的魅力。可知中国古典写实绘画应是比西方更早掌握了如何通过透视缩形来真实表现客观物体的方法。尽管西方意义的科学透视法并不在中国产生，但那种中国式的视觉投影方法，曾经有力支撑着中国封建时代盛期的绘画写实艺术，那么，甚至在图像时代的今天，我们仍然有必要对其现实意义进行研究。",[7,209,1004,25,28,244,27,106,150,26215],"骑马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc607519eb1cdca03b10fb72d38b179c4.jpg","47x195",[42,44,45],{"id":26220,"slug":26221,"title":26222,"dynasty":18,"author":676,"museum":56,"description":26223,"tags":26224,"thumbUrl":26225,"material":699,"size":26226,"collection":44,"collections":26227,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":49},223398,"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[7,23,24,25,244,27,106,29,176,34,1087,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46ace2e8df223b406f8896937f90bac.jpg","30.7，横：238厘米",[44,163],{"id":26229,"slug":26230,"title":26231,"dynasty":76,"author":11555,"museum":20,"description":26232,"tags":26233,"thumbUrl":26234,"material":67,"size":26235,"collection":139,"collections":26236,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":94},222809,"hua-zhu-qi-qin-tu-wang-wu-222809","花竹栖禽图","《花竹栖禽图》底部一奇古巨石，一朵盛开的牡丹从石左侧斜出，枝头一雀鸟面向花朵，鸟目圆睁，似在欣赏花的美丽，又像陶醉在花香中。\n花鸟的颜色艳而不俗，用笔工而不板，明快醒目。\n巨石以浓墨绘出，见有皴染。\n石隙空洞处可见枝叶，错落雅致。\n墨竹疏落有致，用墨浅淡，与底部的花、鸟、石形成色彩上的鲜明对比。\n整幅画面虚实相间，构图奇巧，设色浓淡适宜，笔墨兼工带写，形成了赏心悦目的视觉效果。\n可见，作者跋中所言“学古而步泥其迹”不虚。\n此画右侧下端，置一太湖巨石，两头小中间大，造型奇特，玲珑别透，中间以矾头突出，湖石几乎占有画面的二分之一。\n石旁有翠竹数株，拔地而起，竹竿挺拔，有二大株翠竹冲出画面，一株矮竹附在湖石旁。\n湖石左脚下有数株茶花，茶花有的绽开，有的含苞，在绿叶村托下显得艳丽清雅。\n画幅左侧有作者自题识，丁已年为康熙十六年（1677），王武时年45岁，为王武中年佳作。\n此画的景物基本集中于画幅右侧，但由于画家精心安置，使整幅画位置安稳、平而不板，赋色明丽、艳而不俗，这是此画的最大的特色，也是此画最成功之处。\n在表现技法上，画家以水墨勾勒，皴染作山石，在点苔之后复以石青点之，湖石显得坚实、凝重。\n竹叶和茶花用绿色和红色直涂法，花蕊以黄色点染，花瓣虽都是红色，但亦有深浅区别变化，花叶上又用中锋细笔加画叶脉。\n一只小鸟以积墨法画之，墨色变化丰富，表现出羽毛的质感。\n此画采用没骨与匀勒法相结合的手法，显得自然协调，敷色雅丽明快，令观赏者心旷神怡，颇有忘忧之感。",[7,23,209,24,225,27,28,226,62,370,229,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg","90.7×40.5cm",[],{"id":26238,"slug":26239,"title":26240,"dynasty":99,"author":3869,"museum":583,"description":3870,"tags":26241,"thumbUrl":26242,"material":699,"size":26243,"collection":90,"collections":26244,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":49},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴",[7,23,27,28,83,225,4451,23010,403,466,176,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","93x51",[90,45],{"id":26246,"slug":26247,"title":26248,"dynasty":99,"author":17052,"museum":26249,"description":26250,"tags":26251,"thumbUrl":26253,"material":26254,"size":26255,"collection":44,"collections":26256,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":49},222137,"liu-hai-xi-jin-chan-tu-zhou-liu-jun-222137","刘海戏金蟾图轴","石家庄市博物馆","画中刘海蟾神情怡然，步态从容，身着长袍，足凳云履，腰系葫芦与紫芝。左手托三足金蟾，飘波于碧涛之上。背景远山一抹，海天辽阔。驻足画前细细品味，一股清新自然之气扑面而来。在浩瀚无垠的大海和辽阔无边的天空映衬之下，刘海蟾的神仙气质脱颖而出。画家摄取了刘海蟾信步波上的瞬间，虽无情节，却给人留下无限遐想的空间——他是到蓬莱赴会众神仙，还是到凡间赐福世人？这正是花架构思的奇妙之处。",[7,23,225,28,27,106,435,227,26252],"金蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1450695127d7e3b981d63088893321af.jpg","绢地，设色","纵181.3厘米，横108.8厘米",[44],{"id":26258,"slug":26259,"title":26260,"dynasty":189,"author":26261,"museum":20,"description":26262,"tags":26263,"thumbUrl":26264,"material":841,"size":26265,"collection":181,"collections":26266,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":94},221807,"shan-lin-qing-qu-tu-zhang-guan-221807","山林清趣图","张观","描绘江岸老树坡石之中，一老者独坐，一童子抱琴，渺茫江面一帆归来之景，右下款署“至正戊戌八月，张观制”，现藏故宫博物院；另有《月下人物图》册页，相传为其所作，藏美国纽约大都会博物馆。",[7,23,173,177,29,866,106,176,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8247aabb43e9b76e19440df1094c1f30.jpg","纵30厘米，横54．7厘米",[181,45],{"id":26268,"slug":26269,"title":26270,"dynasty":189,"author":921,"museum":20,"description":26271,"tags":26272,"thumbUrl":26273,"material":40,"size":26274,"collection":44,"collections":26275,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":49},221767,"er-ma-tu-juan-ren-ren-fa-221767","二马图卷","元朝任仁发的《二马图》卷，是一幅有着明确讽刺内容的绘画作品，而且含义十分尖锐，下面试解释画面一二。\n画面很简单，画幅前边是一匹壮实、膘肥肉厚的花马，昂首，踏着轻快的碎步，尾巴扬起飘动，显得自在得意。随在这匹马后边的则是一匹骨瘦如柴的马，条条肋骨清晰可见，它低着头，步履蹒跚，尾巴卷缩着，显出吃力疲惫之态。画家以极其写实的手段，采用勾勒的笔法，描画了马匹的轮廓，线条极富表现力，然后赋以色泽，颇具唐人画马的传统。\n如果单纯从画面来看，画中描绘的只是两匹马，我们似乎不会感到这是一幅讽刺绘画，但是结合画幅后面作者自己的题记来看，其实它是对当时官场乃至社会的种种腐败黑暗提出了强烈的批评。只不过采用了隐喻、拟人的手法，曲折地表明了画家的态度和观点。这大概也是画家所处的时代决定的，因为像《二马图》这样的作品，当时除去作者本人以外，能看到的人可以说不会很多，这样的绘画活动仅仅只能算是个人行为，不会像现在的漫画作品能够发表于报刊上，影响面十分广大，变成了一种社会行为。\n这幅并无任何其他背景和道具的《二马图》卷，看似简单，其实寓意深刻。内容的关键在于画幅后面画家任仁发自己题写的一段文字。他在跋语中先叙述了所画的肥、瘦二马：“肥者骨骼權奇，縈一索而立峻坡，雖有厭飫芻豆之榮，寧無羊腸踣蹶之患。瘠者皮毛剝落，齧枯草而立風霜，雖有終身擯斥之狀，而無晨馳夜秣之勞。”在写完对两匹马的评语后，作者笔锋一转，进一步议论道：“世之士大夫，廉濫不同，而肥瘠系焉。能瘠一身而肥一國，不失其爲廉；苟肥一己而瘠萬民，豈不貽淤濫之恥歟？”看了这段跋语，我们才恍然大悟，原来任仁发是借用两匹马来评论官场的得失利弊。他将画中的肥马比喻成为官不正的贪官，他们吸食民脂民膏，故而肥壮；又将画中的瘦马比喻为廉明勤政的清官，因为忙于政务而累得皮毛剥落，骨瘦如柴。然后作者表明了应当以前者为戒、以后者为榜样的态度。明白了任仁发画这肥、瘦二马的用意之后，再仔细观察，就会发现，作者在画中还安排了一个不大为人注意的细节，那匹肥马马首挽着笼头，但是缰绳却松开了，拖在地上，而瘦马不但有笼头，缰绳还套在马颈上。一匹是没有约束的脱缰之马，失去了控制，就会无法无天，鱼肉百姓而肥己。另一匹是有约束的拴着缰绳的马，有了管束才能尽心尽力，克勤克俭。在这里任仁发似乎又进一步阐述了自己对于官吏管理的看法，其用心可谓十分良苦。其深刻含义就是如果一个社会缺乏了某种监督和制约的机制，腐败就将滋生。",[7,23,24,25,27,28,150,808,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32de904e74241fc3d2e6288cfebb4fe.jpg","纵28.8厘米，横142.7厘米",[44,45],{"id":26277,"slug":26278,"title":26279,"dynasty":18,"author":26280,"museum":56,"description":26281,"tags":26282,"thumbUrl":26283,"material":67,"size":26284,"collection":42,"collections":26285,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":94},221470,"xue-zhong-mei-zhu-tu-xu-yu-gong-221470","雪中梅竹图","徐禹功","雪中梅竹图卷，以前部南宋徐禹功《雪中梅竹图》卷为主体，徐卷后有杨补之“柳梢青”词十首，赵孟坚跋二则，元人张雨“柳梢青”和韵一首。此图画雪梅一枝横空而出，修竹三管，雪压枝头，笔法清逸洒丽，意境清幽朦胧，充满诗情画意。作者徐禹功画史无考，惟在卷后赵孟坚题跋中始知为画家扬无咎之及门弟子，又从书于竹节之名款“辛酉人”考之，当生于1141年（南宋绍兴十一年）。画上有清代乾隆皇帝及董邦达、梁诗正等人的题诗。",[7,23,24,25,173,244,86,178,263,402,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F825e67ae4c8c60235698f2c0399e5488.jpg","纵29.6 厘米，横122 厘米",[42,90],{"id":26287,"slug":26288,"title":26289,"dynasty":18,"author":2263,"museum":20,"description":26290,"tags":26291,"thumbUrl":26292,"material":67,"size":26293,"collection":42,"collections":26294,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":94},221469,"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[7,209,23,24,28,27,83,370,1365,283,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 × 52 cm",[42,90,45],{"id":26296,"slug":26297,"title":26298,"dynasty":18,"author":676,"museum":206,"description":26299,"tags":26300,"thumbUrl":26301,"material":3812,"size":26302,"collection":42,"collections":26303,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":49},221408,"long-mian-shan-tu-li-gong-lin-221408","龙眠山图","《龙眠山庄图》亦称《山庄图》，是宋代杰出画家李公麟的白描山水画。画面表现的是由建德馆至垂云片的龙眠山庄图景。自西而东凡数里，岩谔隐见，泉源相属，山行者路穷于此。《宣和画谱》称《山庄图》，可以配王维《辋川图》；《佩文斋书画谱》亦说《山庄图》用王维《辋川图》的画法：“而行笔细润，乃有超越之意”。苏轼为之记，苏辙为之赋诗，凡二十首。《山庄图》既出，便为世人所珍爱。《山庄图》不仅是一幅远离尘嚣的山村风俗画卷，更体现了山庄主人思想倾向和生活情致。苏轼在《题李伯时〈山庄图〉后》说，李公麟在龙眠山，并非留意一草一木，然而《山庄图》“其神与万物交，其智与百工通。”所以他称李公麟为“有道有艺”的画家。",[7,209,23,24,244,177,29,466,34,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb03915a38cf74d256514b6749816117.jpg","纵28.9厘米，横364.6厘米",[42,181,163],{"id":26305,"slug":26306,"title":26307,"dynasty":54,"author":26308,"museum":1666,"description":26309,"tags":26310,"thumbUrl":26311,"material":16468,"size":26312,"collection":90,"collections":26313,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":49},221133,"bi-geng-yuan-zhang-you-221133","笔耕园","张祐","张佑（祐）[唐]（公元？年至八五三年前后）（新唐书、全唐诗等书均作佑。此从唐诗纪事及唐才子传）字承吉，南阳人。（全唐诗作清河人。此从唐才子传）生年不详，卒于唐宣宗大中中。初寓姑苏，称处士。工诗，元和、长庆间，深为令狐楚所器。楚镇天平，自草表荐，并以诗三百首献于朝。上因召元稹问之，为稹所抑，遂失意而归。客淮南，与度支使杜牧善。牧赠以诗，有“何人得似张公子，千首诗轻万户侯”之句。每苦吟，妻子累呼不应，曰：“吾方口吻生花，岂恤汝辈乎”？性爱山水，多游江南名山。尝同崔涯谒李佑，自称钓鳌客，佑壮之。晚年，与白居易日相讌谑。爱丹阳曲阿地，遂筑室隐居以终。佑著有诗集一卷，（全唐诗作十卷。此从新唐书志及唐才子传）传于世。",[7,23,24,83,402,173,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F600ed0ac0f5ad6cee417f047a2764487.jpg","21.4×25cm",[90,163],{"id":26315,"slug":26316,"title":26317,"dynasty":54,"author":8342,"museum":20,"description":26318,"tags":26319,"thumbUrl":26320,"material":20170,"size":26321,"collection":328,"collections":26322,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":94},221109,"xing-bo-shang-du-shu-tie-ye-ou-yang-xun-221109","行卜商读书帖页","释文：\n“卜商讀書畢，見孔子。孔子問焉，何爲於書。商曰，書之論事，昭昭如日月之代明，離離如參辰之錯行，商所受于夫子者，志之於心，弗敢忘也。”\n这段文字见于《尚书大传》，是孔子与弟子卜商的一段对话。应是欧阳询当年著述手稿，收入他所著的《艺文类聚》卷五五《杂文部·读书》之中，与史籍相较，帖中个别字有出入。\n卜商是孔子弟子，字子夏，春秋时卫国人。师事孔子，师生间常有议论问答，极富哲理。\n此帖为双钩廓填本，墨气鲜润。从书法上看，笔法严谨又不失生动气韵，点画的起止处强化方切硬折。欧阳询晚年将北碑用笔特点融于二王书风，而兼容南北正是“欧体”独到之处。此为欧阳询代表作之一。\n此帖宋代藏于宋徽宗宣和御府，清代归安岐所有，后入乾隆内府，辑入《法书大观》册中。\n宋周密《云烟过眼录》，清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》等书著录。",[7,86,178,622,81,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ec07a542b148372350a60cce3f3a5d.jpg","纵25.7厘米，横16.5厘米",[328],{"id":26324,"slug":26325,"title":26326,"dynasty":54,"author":15560,"museum":20,"description":26327,"tags":26328,"thumbUrl":26329,"material":67,"size":26330,"collection":328,"collections":26331,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":49},221087,"lan-ting-shi-quan-juan-liu-gong-quan-221087","兰亭诗全卷","《兰亭诗》卷释文\n本幅无款印。\n卷前引首清乾隆皇帝行书题“笔谏遗型”，题签“兰亭八柱第四”，题记一段。又有瘦金体题签“唐柳公权书群贤诗”。\n卷后有宋邢天宠、杨希甫、习之、蔡襄（后添）、李处益、孙大年、王易、黄伯思（伪）、宋适，金王万庆，明王世贞（两段）、莫是龙、文嘉、张凤翼，清王鸿绪等题跋和观款。\n此书传为柳公权所书东晋穆帝永和九年（353年）三月三日，王羲之与谢安、孙绰等人在会稽（今浙江绍兴）兰亭修禊时与会者所赋的37首诗及诗序。\n本卷笔法僵硬粗糙，且多枯锋，但较自然率易。卷后宋代黄伯思尾题（伪）中云“传柳书”，细观之，个别字的用笔明显不是出自柳书，如：孙统四言诗中的“希”字、庾友四言诗中的“则”字、王涣之四言诗中的“足”字等末笔写的非常丑怪，字的结体亦多不够沉稳，失于浮躁，与柳氏所书王献之《送梨帖》后之题跋墨迹对比不但笔法不类，连结体也无丝毫相同之处。从诗文看，颇有不通处，如：把孙绰四言诗“怀彼伐木”误书为“怀彼代水”，把谢安四言诗“伊昔夫子”误书为“伊昔先子”。“伐木”是《诗经》中语，“夫子”是指孔丘，说明书写者是一位文墨不够精通之人。无论从艺术特征还是艺术水平来分析，该卷决非柳公权之笔。\n此卷断为宋以前抄本。从所录37首诗中可看出，个别用字不避宋讳，如谢安诗中“契慈玄执，寄教林丘”的“玄”字、王肃之诗中“嘉会欣时游，豁朗畅心神”的“朗”字等都没有避北宋始祖皇帝赵玄朗之讳。另外从书法的主体风格看，推测应写于唐代，与杜牧墨迹《张好好诗卷》大略相近，并且是信笔直书，不是临仿得来。作为唐抄古本，此卷与敦煌遗书中《文选·陆机短歌行等残卷》（伯2554）、《玉台新咏卷第二残卷》（伯2503）有同样的文学价值。\n宋《宝章待访录》，明《东图玄览》、《清河书画舫》、《清河见闻表》，清《珊瑚网书凭》、 《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[7,24,86,25,178,621,263,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[328,2097],{"id":26333,"slug":26334,"title":26335,"dynasty":54,"author":7476,"museum":311,"description":26336,"tags":26337,"thumbUrl":26338,"material":699,"size":26339,"collection":328,"collections":26340,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":94},221071,"zhuan-lun-sheng-wang-jing-quan-juan-zhong-shao-jing-221071","转轮圣王经全卷","自从佛教传入中土以后，写经书法应运 而生，以至于成为除壁画、造像艺术之外又一 绚丽夺目的宗教文化胜景。\n《 转轮圣王经》此卷前后题跋共有十八处，从中可以看出，欣赏者不乏知名人物，如元代仇远，明代韩逢禧，清代梁章钜、张之洞、李文田、吴大 澂、赵之谦等。而在元人题跋中有一条曰：“……虎林盛彪……钱塘仇远、同郡曹良史， 至元甲午二月十一日同观于困学斋。”困学斋 属鲜于枢斋名。虽难以据此认定此物即是鲜于枢的藏品，但至少可以说它曾为鲜丁枢寓目过。\n\n今观此卷书法，上承陈隋正楷遗风，兼收欧、虞两家笔韵，超凡脱俗，引人入定。其用笔匀净遒劲，结体疏密开合适度，允称初唐写经之精品，堪与《善见律》、《灵飞经》等媲美。学书者问津于此，必当豁然开朗，收事半功倍之效。",[7,5152,86,621,25,24,243,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231f989d1c27f5c29d4ea13a79322f01.jpg","23.5x289.5",[328,2097],{"id":26342,"slug":26343,"title":26344,"dynasty":76,"author":77,"museum":311,"description":10721,"tags":26345,"thumbUrl":26346,"material":26347,"size":26348,"collection":45,"collections":26349,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":94},221003,"hua-guo-shu-cai-ce-ye-yun-shou-ping-221003","花果蔬菜册页",[7,23,24,81,82,27,173,83,4675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38aaa574a7446c4481fe42d5b8f15d83.jpg","纸本 设色 册页","23 X 28 CM X 10",[45],{"id":26351,"slug":26352,"title":26353,"dynasty":76,"author":77,"museum":523,"description":26354,"tags":26355,"thumbUrl":26356,"material":26357,"size":26358,"collection":181,"collections":26359,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":49},220972,"shuang-song-liu-quan-tu-yun-shou-ping-220972","双松流泉图","双松流泉图描绘巍峨高耸的远山被浮云游雾隔于天外，远处的瀑布从山崖之间逶迤婉转地涌出，因矶石抵柱而迥旋激荡，如同泉流。近景堤岸沙坡之上灵石伫立，苔草凝碧；临水的山角处双松并峙，针茂如冠，楮竹相生，杂然成林。一溪春水波光粼粼，仿佛正有和煦春风从水面掠过。画上虽然杳无人迹尘嚣，但并不荒疏冷寂。回荡壑谷的风声，击石鸣涧的水声，松涛如潮的树声，或许还有空山飞鸟的啼声，都为这本来幽静的画面平添了许多的幽趣，共同唱响一曲自然生趣的清歌，大有声情并茂的韵味。上端有画家自题语和款署：“双松流泉图，为六朋词兄六十寿。”落款：“毗陵恽寿平。”",[7,23,24,225,173,29,1365,109,176,177,4272,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b3e81025a8acac7cd4862aa16daff2.jpg","轴，卷本设色","纵172厘米，横67厘米",[181,163],{"id":26361,"slug":26362,"title":26363,"dynasty":99,"author":2494,"museum":311,"description":26364,"tags":26365,"thumbUrl":26366,"material":25,"size":26367,"collection":328,"collections":26368,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":255},220959,"zi-jia-shi-juan-dong-qi-chang-220959","紫茄诗卷","《董其昌书法经典鉴赏》是216年四川美术出版社出版的图书，作者是周世闻。\n董其昌，明代书画家。\n书法出入晋唐，自成一格，能诗文，刻有《戏鸿堂帖》。",[7,24,25,86,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf60a44922b4e634d8287b3b643ba82e.jpg","长414厘米、高24．5厘米",[328],{"id":26370,"slug":26371,"title":26372,"dynasty":99,"author":16327,"museum":7087,"description":26373,"tags":26374,"thumbUrl":26375,"material":26376,"size":26377,"collection":328,"collections":26378,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":139},220716,"xing-shu-jie-quan-wang-chong-220716","行书借券","王宠字履仁，后更字履吉，号雅宜山人，吴县（今苏州）人。出生于业商家庭，父王贞雅好收藏古器物书画，并与文征明等贤达时相往来，情谊甚笃。王宠早年与兄王守在苏州太湖洞庭山随蔡羽求学，既而读书石湖之上，二十年中「非岁时省侍，不数数入城。」王宠生平以名节着闻，关于他性情高洁的记述屡见于文词，其洒然出尘的隐者形象深入人心。自正德庚午（1510）至嘉靖辛卯（1531）间，王宠共参加了八次科考，但皆以失败告终，最后一次赴试离他去世只有两年，可想见其终生都在为科名繁忙。\n\n嘉靖七年（1528）四月，王宠请文彭作中，向袁褒借银五十两。文物馆所藏王宠借券，为是次告贷的一纸票据。全券行书八行六十八字，尺幅细小，但历经累世题咏，已成一帧长手卷。券中，双方约定以二分起息，并于同年十二月连本带利偿还，券末有王宠与文彭署名及花押，从内容到形式适合于市井借贷的常例。尽管如此，此券是否真为一件当时借贷的凭据，历来意见不一，从卷后各家的题跋可以窥其大端。质疑者认为，王宠与袁氏交情素厚，借五十金本不必有券，即使有券，亦不必言利，因而仅以「游戏之笔」视之。不过因嘉靖七年是王宠第七次赴科试之年，不少人有见于王宠当时的经济状况和赴考花销，认为借贷之举应是确有其事，虽则王、袁有通财之谊，但既属借贷，王宠也就按著成规，正式立下了借据。\n\n此券后为好事者藏去，数经转徙，甚至一度险付劫灰，而终得以保全，三四百年中代有名贤题咏赞赏，考据二氏生平及往来唱酬之风雅韵事，盖皆当日诸君无从料想之事。惜天不假年，王宠得寿仅四十。虽然人生短暂，其生前的艺术成就已为他赢得书法史上重要的一席。明中期书法以吴门为盛，年轻书家辈出，而唯有王宠得与祝允明、文征明二巨公并称「三家」而无异议。王宠书艺成熟得较早，二十多时已初具规模，大体规摹永兴、大令，高蹈晋法，后虽日臻成熟，其初衷无改。此帧借券书于三十五岁时，属「晚期」之作，即呈现出他那种为世所知的书风。虽然在王宠的传世书作中，此借券不甚起眼，且非「用意之作」，却得后世跋者如林，有为之歌咏作长篇者，有详悉考之成文章者，实洋洋大观，是知王宠书迹可贵，不独以艺事之工。而此券的流传，无疑又为后世提供了「书以人重」的又一典范。",[7,86,24,25,178,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a5c0832584c8de37372e723ca0e418.jpg","水墨,纸本,手卷","24.3 × 21.5厘米",[328],{"id":26380,"slug":26381,"title":26382,"dynasty":949,"author":3807,"museum":9137,"description":26383,"tags":26384,"thumbUrl":26385,"material":527,"size":139,"collection":139,"collections":26386,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":94},220564,"jiu-fang-gao-tu-xu-bei-hong-220564","九方皋图","画面以质朴底色铺陈，左方驯马壮汉肌肉虬结，笔触精准勾勒出力量感，烈马扬蹄摆尾尽显桀骜，一旁驭者沉静注视。右侧老者目光如炬，于旁人的疑惑神情中笃定识人，寥寥数笔便将人物性格刻画分明。\n\n创作者将西式写实的人体结构与国画笔墨相融，铁线般的线条勾勒身形，淡墨晕染铺就荒郊底色，既保留写意的留白韵致，又以写实功底强化画面张力。借旧典暗喻识才辨贤的深意，将传统题材注入时代精神，筋骨兼具，形神合一，尽显创作巧思与风骨。",[7,209,23,173,27,400,106,150,1003,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffe6163f0f6d4f5d21df2d5184d3f94.jpg",[],{"id":26388,"slug":26389,"title":26390,"dynasty":18,"author":278,"museum":206,"description":26391,"tags":26392,"thumbUrl":26393,"material":123,"size":26394,"collection":90,"collections":26395,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":49},220443,"song-ren-sun-ji-tu-yi-ming-220443","宋人隼击图","秋桂飘香，芙蓉摇曳，原是祥和秋景，却呈现阵阵肃杀之气。但见巨鹰凌空俯冲，凌厉的目光，大有扑杀之势。于是雉鸡藏身石后，八哥、蜡嘴仓皇桃散，状甚惊恐。而它们在走避之余，尚注视着巨鹰动向的眼神，尤为生动传神。本幅细致写实，传为宋人所作，然就树干、芙蓉叶、芦苇等多处笔意观之，倒颇合明代吕纪一派画风。",[7,23,24,27,28,266,34,386,558,19074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97657f8d0e87c5567462cc2a0dbe89c9.jpg","本幅 154.8x101.5公分、全幅 114公分",[90,42],{"id":26397,"slug":26398,"title":26399,"dynasty":18,"author":278,"museum":206,"description":26400,"tags":26401,"thumbUrl":26402,"material":123,"size":26403,"collection":44,"collections":26404,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":49},220424,"du-fu-li-ren-xing-tu-yi-ming-220424","杜甫丽人行图","《丽人行》是唐代大诗人杜甫的作品，约作于唐天宝十二载（753年）。此诗通过描写杨氏兄妹曲江春游的情景，揭露了统治者荒淫腐朽作威作福的丑态，从一个角度反映了安史之乱前夕的社会现实。诗分三段：先泛写游春仕女的体态之美和服饰之盛，引出主角杨氏姐妹的娇艳姿色；次写宴饮的豪华及所得的宠幸；末写杨国忠的骄横。全诗场面宏大，鲜艳富丽，笔调细腻生动，讽刺含蓄不露，通篇只是写“丽人”们的生活情形，却达到了如前人所说“无一刺讥语，描摹处语语刺讥；无一慨叹声，点逗处声声慨叹”的艺术效果。",[7,23,24,209,1004,28,27,29,106,114,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd607f74f9590044dbe2c25f94a50f5f.jpg","40.1x41厘米",[44,45],{"id":26406,"slug":26407,"title":26408,"dynasty":189,"author":4438,"museum":222,"description":26409,"tags":26410,"thumbUrl":26411,"material":123,"size":26412,"collection":44,"collections":26413,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":49},220410,"shui-bian-gao-shi-tu-sheng-mao-220410","水边高士图","盛懋（生卒年不详）字子昭，嘉兴（今属浙江）武塘人，与吴镇同时代，且为乡邻，“比门而居”，主要活动于元至正年间。其父盛洪，是民间画工。盛懋承家学，人物、山水、花鸟，无所不工，尤善山水。其山水画多作丛山密林，表现四时朝暮的江山胜景，结构严整，笔墨清润。早年得到陈琳(赵孟頫的学生)的指点，画山石多用披麻皴或解索皴，笔法工整，设色明丽。所以他早期的画“精致有余”，而意趣不足，被时人称作“画工”之作。但他后来逐渐接受元代文人画家的影响，吸收文人画的意趣，一定程度上摆脱了“匠气”，故其作品越来越合士大夫阶层的审美情趣，元至正年间享有盛名。盛懋的画当时也很受老百姓的欢迎，“四方以金帛求子昭画者甚众”。他的传世作品较多，如《秋林高士图》《秋江待渡图》《坐看云起图》《秋溪放艇图》《山居纳凉图》等。",[7,23,173,27,177,106,29,866,109,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901490fb625dc8dea15a65bdd9778bf9.jpg","23.4×25.3",[44,181,45],{"id":26415,"slug":26416,"title":26417,"dynasty":99,"author":16949,"museum":222,"description":26418,"tags":26419,"thumbUrl":26420,"material":88,"size":26421,"collection":181,"collections":26422,"showCount":26062,"zanCount":48,"manualWeight":48,"mainColor":94},219977,"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","此作用高远、平远之法铺陈山水，下半幅巉岩叠错，幽溪宛转，苍松虬枝斜曳，丹枫点破秋光，山居藏于松荫深处，野意萧散。远景烟峦浮空，汀渚村舍隐在淡墨轻岚之中，虚实相生，晕染出空濛清旷的秋霁氛围。\n\n笔墨兼工带写，山石以披麻皴间杂小斧劈，细劲松秀，淡墨轻扫出流云远山，将高蹈隐逸的林下之思藏在清寂丘壑间，把文人林泉高致的意趣，铺展于绢素之上，清灵淡远，尽显秀雅温润的吴门意韵。",[7,23,24,29,27,177,109,176,866,1267,557,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff079bfcc13d6102a4df986fa0f2775.jpg","67x31cm",[181],{"id":26424,"slug":26425,"title":26426,"dynasty":99,"author":3839,"museum":101,"description":26427,"tags":26428,"thumbUrl":26429,"material":409,"size":26430,"collection":44,"collections":26431,"showCount":26062,"zanCount":2209,"manualWeight":48,"mainColor":94},219726,"tao-yuan-ming-shang-ju-tu-du-jin-219726","陶渊明赏菊图","陶渊明所处的时代，正属朝代更迭、战乱频发的乱世。况且当时的官制延续自汉代起的“九品中正制”，很多寒门士子无法入朝为官施展抱负，他们只能屈居于无能世家子弟的治下屡屡碰壁，故而纷纷绝望，选择归隐避世。",[7,23,225,173,28,106,407,403,176,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c5282b11790f03544ec06823922541.jpg","48 x 36 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(1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[7,23,24,25,173,177,29,734,282,34,35,194,119,1265,10431,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[181,163],{"id":26713,"slug":26714,"title":26715,"dynasty":189,"author":14801,"museum":206,"description":26716,"tags":26717,"thumbUrl":26718,"material":123,"size":26719,"collection":44,"collections":26720,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":49},221846,"yuan-shi-zu-chu-lie-tu-zhou-liu-guan-dao-221846","元世祖出猎图轴","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[7,23,24,209,225,27,28,106,150,808,8437,23953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[44,45],{"id":26722,"slug":26723,"title":26724,"dynasty":18,"author":708,"museum":101,"description":26725,"tags":26726,"thumbUrl":26727,"material":12282,"size":26728,"collection":139,"collections":26729,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":94},221508,"bu-yu-tu-tuan-shan-ye-xia-gui-221508","捕鱼图团扇页","按《捕鱼图》团扇页题签，此画传为南宋画家夏圭所作。有学者认为可能是明代画家的作品。夏珪腕力刚劲，运笔迅速，与此画文静秀逸的笔法不同；《捕鱼图》人物温雅的面容，简洁而细腻的衣纹，也不是夏珪的风格，反而与马远的画风一致。尽管《捕鱼图》可能不是宋代作品，但画得依然很出色，能妙笔入神，情景交融，表现出雅静虚和的韵味。",[7,23,1352,173,177,29,174,1542,867,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90038fa4d4f5868eee3e4e06e13086.jpg","23.2x24.1厘米",[],{"id":26731,"slug":26732,"title":26733,"dynasty":18,"author":5346,"museum":311,"description":26734,"tags":26735,"thumbUrl":26736,"material":27,"size":26737,"collection":42,"collections":26738,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":49},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[7,209,23,24,25,173,177,86,263,29,734,2279,282,174,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[42,181,163],{"id":26740,"slug":26741,"title":26742,"dynasty":18,"author":19529,"museum":311,"description":26743,"tags":26744,"thumbUrl":26745,"material":67,"size":26746,"collection":42,"collections":26747,"showCount":26528,"zanCount":2209,"manualWeight":48,"mainColor":49},221417,"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[7,23,209,24,81,173,177,29,866,1423,5613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 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横：104.2公分",[90],{"id":26778,"slug":26779,"title":26780,"dynasty":18,"author":676,"museum":1098,"description":26781,"tags":26782,"thumbUrl":26783,"material":123,"size":26784,"collection":42,"collections":26785,"showCount":26528,"zanCount":2209,"manualWeight":48,"mainColor":49},220333,"yuan-ming-gui-yin-tu-li-gong-lin-220333","渊明归隐图","本画将《归去来兮辞》原文分为七段配以相应的绘本，完整描绘渊明归去来的一连串情节，画面热闹，用笔工整讲究，但与《归去来兮辞》中所描写的略有出入，倒有些像是辞官后富贵还乡的场景。",[7,23,25,244,27,86,178,263,106,29,175,174,266,34,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68210320aa225634ebd2bcf13157b263.jpg","37.0x521.5",[42],{"id":26787,"slug":26788,"title":26789,"dynasty":189,"author":26790,"museum":206,"description":26791,"tags":26792,"thumbUrl":26793,"material":327,"size":26794,"collection":163,"collections":26795,"showCount":26528,"zanCount":2209,"manualWeight":48,"mainColor":49},220242,"gu-mu-fei-quan-tu-zhang-shun-zi-220242","古木飞泉图","张舜咨","该幅作于1347年（至正七年），描绘几株老树挺立在土坡石傍，远山、飞泉之外别无他物。空山溪谷寂静幽深，只有潺潺的泉声不断传来。画树枝，好像写书法似地一笔一笔写成。皴法的用笔扭转交错，有活泼灵动的感觉。",[7,23,209,24,225,27,29,866,1423,109,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2110f7088b0994cacaafa316c890aa.jpg","146.3x89.6公分",[163],{"id":26797,"slug":26798,"title":26799,"dynasty":99,"author":10349,"museum":20,"description":26800,"tags":26801,"thumbUrl":26802,"material":327,"size":26803,"collection":181,"collections":26804,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":49},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[7,23,24,225,464,400,177,29,403,4656,174,19532,109,734,385,867,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[181,44],{"id":26806,"slug":26807,"title":26808,"dynasty":76,"author":963,"museum":6772,"description":26809,"tags":26810,"thumbUrl":26811,"material":88,"size":26812,"collection":181,"collections":26813,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":49},219930,"liu-xi-diao-ting-tu-shi-tao-219930","柳溪钓艇图","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，僧名元济，一作原济，别号很多，大滌子、钝根、石道人、苦瓜和尚、瞎尊者、清湘陈人、清湘老人、清湘遗人、零丁老人。 明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[7,23,173,177,225,29,2607,174,109,283,34,106,107,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[181],{"id":26815,"slug":26816,"title":26817,"dynasty":99,"author":2242,"museum":447,"description":26818,"tags":26819,"thumbUrl":26820,"material":327,"size":139,"collection":181,"collections":26821,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":94},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[7,23,24,25,178,2570,1163,173,27,106,107,108,109,174,175,384,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[181,328],{"id":26823,"slug":26824,"title":26825,"dynasty":76,"author":26826,"museum":447,"description":26827,"tags":26828,"thumbUrl":26829,"material":123,"size":139,"collection":44,"collections":26830,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":49},219835,"cai-zhi-tu-yu-bing-shun-219835","采芝图","禹秉舜","此作以青绿晕染烟霞山峦，古松虬枝横斜，苍劲的松针间裹挟流云，将山林晕染出空寂出尘的仙气。下方溪桥之上，仕女衣袂翩跹徐行，侍女手捧灵芝紧随其后，人物眉目温婉情态娴静，衣纹勾勒细腻雅致。\n\n画作兼用工写之法，山石松干以粗笔淡墨皴擦出苍润古意，人物则精细描摹，明丽设色衬出雅致格调，将林下寻芝的隐逸雅趣融于山水之间，淡远清和，尽显温婉古韵。",[7,23,27,28,225,1365,176,37,59,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb0c561ceeb62412f8daaea5ff098e.jpg",[44],{"id":26832,"slug":26833,"title":26834,"dynasty":189,"author":3051,"museum":206,"description":26835,"tags":26836,"thumbUrl":26837,"material":123,"size":26838,"collection":44,"collections":26839,"showCount":26528,"zanCount":2209,"manualWeight":48,"mainColor":49},219694,"san-yuan-song-xi-tu-qian-xuan-219694","三元送喜图","本幅描绘庭院一角，有两株梧桐傍石而生，桐荫下，三名童子聚精会神的观赏著画。轴中画的花禽，分别是香椽与喜鹊，与三 “元” 送 “喜” 谐音。三元指状元、会元、解元，故本图有科考高中之吉祥寓意。",[7,23,24,28,27,106,4304,384,1518,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2316fbe648f0293f1ca11463ab959048.jpg","111.4x62.8厘米",[44],{"id":26841,"slug":26842,"title":26843,"dynasty":99,"author":26844,"museum":447,"description":26845,"tags":26846,"thumbUrl":26847,"material":123,"size":139,"collection":44,"collections":26848,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":49},219548,"yao-chi-xian-ju-tu-zhang-chong-219548","瑶池仙剧图","张翀","左上题笔苍劲古朴，与下方群景相映成趣。画中仙者围聚雅奏，吹笛人垂眸凝神，乐音似随笔墨漫溢而出；持板者庄容敛目，静候合律；侧耳听者沉醉忘形，仕女柔婉端丽，老者骨相清奇。衣纹以铁线描游走，顿挫间尽显飘逸灵动，晕染细腻贴合身形，将仙家出尘之姿尽数铺展。古雅棕褐底色晕开瑶池的缥缈清旷，把群仙宴乐悠然盛景刻画入微，既有传统人物画的精工雅致，又暗蕴超脱尘俗的浪漫气韵，尽显精妙笔力与古典审美意趣。",[7,23,27,28,106,59,808,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7624c2f1c2e8fe233684b55cd2200168.jpg",[44],{"id":26850,"slug":26851,"title":26852,"dynasty":18,"author":278,"museum":132,"description":26853,"tags":26854,"thumbUrl":26855,"material":327,"size":26856,"collection":90,"collections":26857,"showCount":26528,"zanCount":1104,"manualWeight":48,"mainColor":49},219000,"tang-su-zhu-que-tu-yi-ming-219000","唐宿竹雀图","竹影扶疏，墨色浓淡间显枝干劲挺，竹叶层叠如翠云轻展，疏密有致藏自然生机。雀儿栖于竹枝，或敛翅假寐，或侧首凝睇，羽纤毫毕现——绒羽若隐若现，翅尖纹理分明，爪尖扣枝的力道隐于柔姿，神态灵动如临其境。石矶卧于竹下，皴法简淡却见朴拙，与竹的清雅相映成趣。整幅画面动静相宜，清雅中含野逸之趣，写实笔触里蕴文人雅致，尽展宋画对自然物态的精妙捕捉与诗意表达。",[7,209,23,24,225,28,173,27,83,226,4541,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","纵159.0横93.4厘米",[90],{"id":26859,"slug":26860,"title":26861,"dynasty":18,"author":26862,"museum":206,"description":26863,"tags":26864,"thumbUrl":26865,"material":123,"size":139,"collection":42,"collections":26866,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":94},218935,"song-xiu-yu-cun-tu-gao-ke-ming-218935","松岫渔村图","高克明","在画作中央的山坡上画着一栋村舍，它与右边的坡石由一座木桥连接，桥下的溪水流淌着，仿佛在鸣叫。桥上的一个男人正向村子走去，后面跟着一个孩子。坡岸上有房屋和树木，远处的山峰上也有树木；远处的山峰被涂上了鲜艳的色彩，还有蒸腾的雾气，这种场景类似于中国南方的晚春日落。这幅作品的构图是典型的边缘化，场景本身只占整个画面的一半，形成一条从远处山顶的树梢到倾斜的海岸的对角线。虽然这是一部小作品，但它具有巨大和深远的潜力。笔触低调，构图和主题一再显示出与马夏画派的亲和力。",[7,23,1352,29,1365,176,34,109,174,177,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a818024b4d6462ac770c4d1cfc69bc.jpg",[42],{"id":26868,"slug":26869,"title":26870,"dynasty":54,"author":26871,"museum":206,"description":26872,"tags":26873,"thumbUrl":26874,"material":88,"size":26875,"collection":90,"collections":26876,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":94},218796,"hua-niu-tu-dai-song-218796","画牛图","戴嵩","壮硕的水牛缓步踏于郊野，肌理褶皱与蓬松毛发以浓淡墨色晕染，憨态中藏着沉实力量。牛背上的牧童半倚牛身，袖角轻扬似伴风哼歌，眉眼间漫着未泯的天真。旁侧老树枝干虬曲，墨叶层叠如盖，树下蜷伏的小狗探头张望，添了几分灵动野趣。\n\n整幅画以简练线条勾出轮廓，墨色深浅衬出物象质感，田园的悠然生机凝于尺幅。每处细节皆藏着对生活的细腻观察：牛蹄的厚重、牧童的松弛、树影的斑驳，仿佛能听见风过叶隙的轻响，与牧童唇边隐约的调子，瞬间跌入那片静谧的乡野时光里。",[7,209,23,24,173,27,28,151,106,384,263,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c7dfa521d6e806e13ca8e77c45568ad.jpg","56.1x32.2cm",[90],{"id":26878,"slug":26879,"title":21025,"dynasty":18,"author":1419,"museum":206,"description":1851,"tags":26880,"thumbUrl":26881,"material":123,"size":1854,"collection":139,"collections":26882,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":94},218572,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218572",[7,209,23,24,81,27,177,29,107,1365,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a243811f9d11bd8f802140177b34ff7.jpg",[],{"id":26884,"slug":26885,"title":14598,"dynasty":99,"author":278,"museum":447,"description":26886,"tags":26887,"thumbUrl":26889,"material":123,"size":26890,"collection":44,"collections":26891,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":49},218372,"ying-xi-tu-yi-ming-218372","画的是一个骑着白色羊毛羊的孩子，戴着羊毛帽，穿着厚厚的长袍，肩上扛着一根细细的梅花杆，在隆冬时节，在一群不同颜色的羊毛中间放着一个鸟笼。",[7,23,27,28,106,9044,6545,61,384,26888,808],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb0eaf577239595e5412db7830f04d.jpg","65.4x42.54",[44],{"id":26893,"slug":26894,"title":1462,"dynasty":99,"author":3908,"museum":11776,"description":26895,"tags":26896,"thumbUrl":26897,"material":88,"size":26898,"collection":181,"collections":26899,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":94},218089,"shan-shui-tu-lu-zhi-218089","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[7,23,1218,177,173,176,34,1087,114,466,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[181],{"id":26901,"slug":26902,"title":1330,"dynasty":189,"author":645,"museum":206,"description":26903,"tags":26904,"thumbUrl":26905,"material":327,"size":26906,"collection":139,"collections":26907,"showCount":26528,"zanCount":48,"manualWeight":48,"mainColor":94},214362,"zhu-shi-tu-zhao-meng-fu-214362","这幅画用枯木、竹子和石头画成，用笔既写实又有书法的趣味，最初的记录是元代一位无名艺术家的作品。竹子的画风与他夫人管道昇的画风比较相似，而石头和干木头是赵孟頫自己的，所以不清楚这幅画是否是他们夫妇的合作。",[7,209,23,24,173,81,226,385,229,263,17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钟馗像立轴","此作以淡墨勾勒晕染，将钟馗威严肃杀的神态尽皆铺陈。画家以虬髯环眼塑造出钟馗狞厉刚猛的面容，按剑而立的雄硕身姿，满是镇伏邪祟的浩然正气。衣纹兼用铁线、兰叶描，笔力顿挫劲健，随身形走势跌宕起伏，将衣物的厚重质感与钟馗的刚健勇武融为一体。墨色浓淡相宜，须发、冠履层次分明，虽未施重彩，却将钟馗的凛然神采烘托得淋漓尽致，尽显传统人物画“以形写神”的精髓，把这位镇邪判官的威严气魄刻画得入木三分，是极具功力的传神佳作。",[7,23,225,173,244,106,263,27014,243],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d0c3b8f23c66f9ab7516659a3bef79.jpg",[],{"id":27018,"slug":27019,"title":27020,"dynasty":277,"author":27021,"museum":311,"description":27022,"tags":27023,"thumbUrl":27025,"material":2164,"size":2165,"collection":139,"collections":27026,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},231746,"jiang-hu-shi-dai-xia-qiu-cao-tu-ping-feng-qiu-fen-jiu-jing-bao-yi-231746","江户时代 夏秋草图屏风-秋分","酒井抱一","日本画家的的琳派。他以复兴绪方光琳的风格和流行而闻名，并创作了光琳作品的许多复制品。",[7,27,28,83,606,3226,84,512,928,13178,27024],"日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115d92d5e47f2f2a6c2be087928f418c.jpg",[],{"id":27028,"slug":27029,"title":27030,"dynasty":99,"author":23818,"museum":2958,"description":27031,"tags":27032,"thumbUrl":27037,"material":67,"size":27038,"collection":139,"collections":27039,"showCount":26918,"zanCount":2209,"manualWeight":48,"mainColor":49},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[7,23,27,28,83,297,369,1712,266,176,84,939,67,11679,27033,4176,14059,1628,7491,658,1629,27034,559,27035,27036],"花卉禽鸟","羽毛","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],{"id":27041,"slug":27042,"title":27043,"dynasty":76,"author":278,"museum":311,"description":27044,"tags":27045,"thumbUrl":27046,"material":139,"size":139,"collection":139,"collections":27047,"showCount":26918,"zanCount":2209,"manualWeight":48,"mainColor":49},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[7,23,28,27,104,106,107,1069,115,34,2019,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],{"id":27049,"slug":27050,"title":83,"dynasty":76,"author":1929,"museum":311,"description":27051,"tags":27052,"thumbUrl":27053,"material":139,"size":139,"collection":139,"collections":27054,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},224309,"hua-niao-li-shan-224309","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[7,23,209,225,173,27,400,83,227,404,4207,928,3899,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],{"id":27056,"slug":27057,"title":27058,"dynasty":76,"author":1929,"museum":311,"description":27059,"tags":27060,"thumbUrl":27061,"material":139,"size":139,"collection":139,"collections":27062,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},224294,"tao-hua-liu-yan-tu-li-shan-224294","桃花柳燕图","《历代名画宣纸高清大图:李鱓桃花柳燕图》绘桃红、柳绿、燕嬉之景，生动地表现了春天和生命的气息，画面充满暖意。\n画幅右边近下部，柳树枝干往上方挺升，其上旁生枝条，以浅绿设色表现初发的柳叶，墨笔筒细而劲健。\n整个枝干形态奠定了画面格局。\n柳树後可见一株桃树枝干自右至左斜出，分上中下三个方向。\n桃树枝干以褐色设色，与墨色的柳树枝干相映成趣，其上并以粉红、银白、淡绿设色表现桃花花办与花叶，同样笔墨不繁却栩栩如生。\n在此美景中，作者添了四只暖春早燕：其一于高枝上向下俯视，情状蠢蠢欲动；其一站立在横枝上，神态安详；其一停于中部枝头顶端；其一低飞于桃红柳绿问。\n此幅花鸟画明朗活泼，笔墨工致。\n《历代名画宣纸高清大图:李鱓桃花柳燕图》由 出版。",[7,23,24,225,400,27,264,2607,12221,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0cd75efcd4565e82cc7ec65b74f13a.jpg",[],{"id":27064,"slug":27065,"title":27066,"dynasty":76,"author":803,"museum":56,"description":1453,"tags":27067,"thumbUrl":27068,"material":67,"size":27069,"collection":139,"collections":27070,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},223232,"mei-que-tu-li-zhou-ren-yi-223232","梅雀图立轴",[7,225,27,173,3202,83,402,4541,405,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","纵70.7厘米，横35厘米",[],{"id":27072,"slug":27073,"title":27074,"dynasty":76,"author":2946,"museum":206,"description":27075,"tags":27076,"thumbUrl":27078,"material":27079,"size":27080,"collection":139,"collections":27081,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[7,23,225,243,28,27,106,29,245,436,2508,263,315,8035,27077,34,109],"神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 纸本 设色","114.5x66.5厘米",[],{"id":27083,"slug":27084,"title":27085,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":27086,"thumbUrl":27090,"material":67,"size":2225,"collection":139,"collections":27091,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":49},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61",[7,23,28,27,104,106,29,2019,107,115,34,10102,35,59,300,1641,27087,8782,27088,27089],"红楼梦题材","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg",[],{"id":27093,"slug":27094,"title":27095,"dynasty":99,"author":27096,"museum":1666,"description":27097,"tags":27098,"thumbUrl":27099,"material":139,"size":139,"collection":181,"collections":27100,"showCount":26918,"zanCount":2209,"manualWeight":48,"mainColor":94},222837,"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[7,23,25,27,29,177,5727,467,557,34,108,109,174,107,175,11779,403,558,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[181,45],{"id":27102,"slug":27103,"title":27104,"dynasty":76,"author":336,"museum":206,"description":10745,"tags":27105,"thumbUrl":27107,"material":573,"size":10749,"collection":181,"collections":27108,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）",[7,23,28,27,107,2310,136,174,34,106,12848,27106,10747],"消夏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg",[181,45],{"id":27110,"slug":27111,"title":27112,"dynasty":76,"author":14888,"museum":206,"description":27113,"tags":27114,"thumbUrl":27116,"material":27117,"size":27118,"collection":139,"collections":27119,"showCount":26918,"zanCount":2209,"manualWeight":48,"mainColor":94},222658,"lu-shan-pu-bu-tu-zhou-gao-qi-pei-222658","庐山瀑布图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[7,23,225,27115,173,177,29,466,1365,106,109,558,86,263],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0731b38bbf14d460f6ddc5b90c3f50.jpg","绢本，水墨，浅设色","纵98.4厘米，横49.9厘米",[],{"id":27121,"slug":27122,"title":27123,"dynasty":76,"author":22355,"museum":101,"description":27124,"tags":27125,"thumbUrl":27126,"material":27127,"size":27128,"collection":181,"collections":27129,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":49},222631,"shan-shui-ce-ye-gao-cen-222631","山水册页","高岑（1621-1691），字善長，又字蔚生，杭州人，居金陵（今南京）。高阜弟，為“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[7,23,24,81,173,177,29,108,109,403,35,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 X21.3厘米",[181,163],{"id":27131,"slug":27132,"title":27133,"dynasty":99,"author":27134,"museum":311,"description":27135,"tags":27136,"thumbUrl":27137,"material":139,"size":139,"collection":90,"collections":27138,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},222405,"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[7,23,24,25,105,173,244,83,402,407,227,369,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[90,163],{"id":27140,"slug":27141,"title":24128,"dynasty":99,"author":27142,"museum":206,"description":27143,"tags":27144,"thumbUrl":27151,"material":302,"size":27152,"collection":181,"collections":27153,"showCount":26918,"zanCount":2209,"manualWeight":48,"mainColor":49},222241,"yu-le-tu-ding-yu-chuan-222241","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[7,23,27,29,28,174,867,226,27145,1265,37,109,1231,384,928,3899,33,21613,865,18264,27146,118,1088,27147,27148,1617,966,27149,4064,3711,737,1755,5243,27150],"渔夫","渔人","浅滩","丛竹","霭气","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[181,163],{"id":27155,"slug":27156,"title":27157,"dynasty":99,"author":170,"museum":20,"description":27158,"tags":27159,"thumbUrl":27160,"material":1488,"size":27161,"collection":90,"collections":27162,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},222130,"chu-ji-tu-ye-shen-zhou-222130","雏鸡图页","本幅自题七言诗：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长。”自识“沈周”，钤“启南”朱方印、“白石翁”白方印。收藏印钤“朱卧庵收藏印”、“之赤”、“昆王成宪画印”等，右下骑缝花押。\n从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[7,23,24,173,178,83,11927,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6374170d786fdeec4131bd7de6727b5b.jpg","纵28.1厘米，横37.6厘米",[90,163],{"id":27164,"slug":27165,"title":27166,"dynasty":99,"author":1014,"museum":206,"description":27167,"tags":27168,"thumbUrl":27169,"material":123,"size":27170,"collection":181,"collections":27171,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":49},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[7,23,24,209,27,177,29,106,109,866,229,1265,10766,34,5243,1542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[181,45],{"id":27173,"slug":27174,"title":27175,"dynasty":99,"author":27176,"museum":311,"description":27177,"tags":27178,"thumbUrl":27179,"material":139,"size":139,"collection":90,"collections":27180,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},221878,"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","陶成","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[7,23,24,25,173,27,1904,84,407,226,928,176,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[90,163],{"id":27182,"slug":27183,"title":27184,"dynasty":18,"author":27185,"museum":8393,"description":27186,"tags":27187,"thumbUrl":27188,"material":27,"size":27189,"collection":42,"collections":27190,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":49},221360,"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[7,23,28,27,67,83,285,266,16900,926,607,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[42,90,45],{"id":27192,"slug":27193,"title":27194,"dynasty":18,"author":323,"museum":20,"description":27195,"tags":27196,"thumbUrl":27197,"material":699,"size":27198,"collection":328,"collections":27199,"showCount":26918,"zanCount":2209,"manualWeight":48,"mainColor":49},221279,"huan-hua-xi-tu-yin-juan-huang-ting-jian-221279","浣花溪图引卷","释文：\n［拾］［遗］［流］［落］［锦］［官］城，故人作尹眼［为］［青］。碧鸡坊西［结］茅屋，百花［潭］［水］濯冠缨。［故］［衣］未补新衣［绽］，空［蟠］胸中书万［卷］。探道欲度［义］皇前，论诗未［觉］国风远。干［戈］峥嵘暗寓县，杜陵韦［曲］［无］鸡犬。老妻稚［子］且眼前，［弟］［妹］漂零不相［见］。［此］翁乐易极可［人］，［园］翁溪友肯［卜］邻。［邻］［家］有酒邀皆去，得意鱼鸟［来］［相］亲。浣花酒舩散车骑，野[墙］［］无主看桃李。［宗］［文］守家宗武扶，［落］日蹇驴驮［醉］起。愿闻解［鞍］脱兜鍪，老［儒］［不］用千户侯。［中］原未得平安［报］，醉［里］眉攒万国［愁］。生綃铺墙粉［墨］落，平生忠［义］［今］寂寞。儿呼不［苏］驴失脚，犹［恐］［醒］来有新作。［长］［使］诗人拜画［图］，［煎］胶续絃千古无。（注：［］内字为后补。）\n鉴藏印有“绍兴”、“内府书印”、“贞元”、“乾坤清赏”、“有明王氏图书之印”及清嘉庆内府诸印等。卷后有明吴宽、王世贞跋。\n此卷为火烧残本，后经明代夏德声补齐（见释文中［］内字）。\n此卷见载于《山谷外集》，作于北宋元祐三年（1088年），黄庭坚时年42岁。作品笔法苍老，多骨少肉，具有作者晚年书法的风格特征。卷后明王世贞跋中评道：“……老杜浣花溪图引也。歌词力欲求奇，然是公最合作语。书笔横逸疏荡，比素师饶姿态，亦稍平易可识。而结法之密、腕力之劲、波险神奇，似小不及也……。”可知书“素师”是指唐代著名书家怀素，王世贞对黄庭坚与怀素书法特点的比较非常准确。此件作品虽然残处较多，仍不失为佳作。\n著录于《孙氏书画钞》上册、《石渠宝笈三编·延春阁》。",[7,209,23,24,25,2570,86,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5498ec208de96393364fd15d1d1c1f.jpg","纵35.5厘米,横391.4厘米",[328],{"id":27201,"slug":27202,"title":27203,"dynasty":18,"author":11975,"museum":206,"description":27204,"tags":27205,"thumbUrl":27207,"material":67,"size":27208,"collection":139,"collections":27209,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":49},221239,"song-ke-si-bao-sheng-ru-lai-zhou-song-ren-221239","宋缂丝宝生如来轴","当精微细致的宋画与缂丝相遇之后，一种集精美丝织工艺和极致绘画情趣为一体的缂丝画便产生了。缂丝画的出现，摆脱了宋之前缂丝实用品的束缚，使其有了较高的艺术观赏性，而其绘画性所展现的艺术格调，不仅再现了宋代绘画的绝美，也使缂丝艺术远远高出其他门类的丝绣艺术。",[7,209,225,2127,243,27,106,8567,27206,8726],"宝生如来","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd216f580aaefd6dae4e2fbc07bec2c.jpg","84.8x57.2",[],{"id":27211,"slug":27212,"title":27213,"dynasty":99,"author":2494,"museum":101,"description":27214,"tags":27215,"thumbUrl":27216,"material":27217,"size":27218,"collection":328,"collections":27219,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[7,23,24,25,173,29,177,2352,86,178,263,557,34,1087,108,109,37,194,1267,176,1269,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[328],{"id":27221,"slug":27222,"title":27223,"dynasty":189,"author":767,"museum":206,"description":18973,"tags":27224,"thumbUrl":27225,"material":712,"size":27226,"collection":139,"collections":27227,"showCount":26918,"zanCount":2209,"manualWeight":48,"mainColor":94},220813,"qin-shu-zi-yu-tu-zhou-wang-meng-220813","琴书自娱图轴",[7,23,24,225,173,177,29,34,107,176,1871,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8731d7e633af79f8819632ef335518d0.jpg","144.6x41.9",[],{"id":27229,"slug":27230,"title":8722,"dynasty":949,"author":3807,"museum":3808,"description":27231,"tags":27232,"thumbUrl":8732,"material":139,"size":139,"collection":139,"collections":27237,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},220573,"yu-gong-yi-shan-xu-bei-hong-220573","这幅长卷以群像铺展劳作盛景，左侧妇孺老者伴象静立，眉眼间带着质朴安然的烟火气；右侧赤膊力士肌肉虬结，或挥锄蓄力、躬身掘土，古铜色躯体迸发撼人力量。创作者揉合中西技法，以国画线条勾勒筋骨，用西洋写实晕染肌肉明暗，将劳动者的粗粝体魄与坚毅精神凝于笔端。没有刻意渲染神话玄奇，只落脚于凡人苦干，把古老寓言的坚韧意志，具象成一群勇者的躬身耕耘，让不移信念在充满烟火气的劳作场景中变得可感可触，尽显沉浑厚重的生命张力。",[7,23,27,8725,106,8726,27233,4304,27234,8731,8727,8925,16789,27235,27236],"水牛","女性","人体","篮子",[],{"id":27239,"slug":27240,"title":27241,"dynasty":949,"author":27242,"museum":11082,"description":27243,"tags":27244,"thumbUrl":27245,"material":11086,"size":139,"collection":139,"collections":27246,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},220451,"ma-nai-si-he-shang-huang-zhou-220451","马奈斯河上","黄胄","黄胄于1965年春北京作此画，写赠廖一原妻汪云女士。黄胄曾获多个奖项，其国画重生活气息及民族色彩，所绘毛驴，维妙维肖。",[7,23,173,27,400,106,150,266,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53033b6aa3b54f7bcf0aaec4e4188faf.jpg",[],{"id":27248,"slug":27249,"title":27250,"dynasty":76,"author":4192,"museum":222,"description":27251,"tags":27252,"thumbUrl":27253,"material":409,"size":139,"collection":181,"collections":27254,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":49},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[7,23,24,225,29,22980,177,30,37,34,468,466,176,4969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[181],{"id":27256,"slug":27257,"title":27258,"dynasty":76,"author":7373,"museum":206,"description":27259,"tags":27260,"thumbUrl":27261,"material":88,"size":27262,"collection":181,"collections":27263,"showCount":26918,"zanCount":48,"manualWeight":48,"mainColor":94},220112,"yan-bo-diao-ting-tu-qian-long-220112","烟波钓艇图","清高宗爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。",[7,23,24,173,225,29,174,1542,1322,3899,452,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0610d85cb942d3d36056cbf98c91f3.jpg","58.8x30.7",[181],{"id":27265,"slug":27266,"title":27267,"dynasty":189,"author":27268,"museum":27269,"description":27270,"tags":27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。\n翟院深无作品流传于世，画中雪山崔巍，老木寒柯，气象萧疏，是一幅李成传派的宋画。",[7,23,1218,177,7577,865,176,2019,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213ef25e23b1ae0d2de584a8008fe774.jpg",[],{"id":27393,"slug":27394,"title":27395,"dynasty":204,"author":7615,"museum":311,"description":27396,"tags":27397,"thumbUrl":27399,"material":2164,"size":2165,"collection":139,"collections":27400,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":49},290487,"xi-yan-mu-se-tu-guan-tong-290487","西岩暮色图","关仝（约907-960年），字号不详，京兆长安（陕西西安）人。五代时期杰出画家，与荆浩、董源、巨然并称“四大山水画家”。\n荆浩的追随者，活跃于五代末及宋初，他刻苦认真地揣摩钻研静好的艺术，甚至达到了废寝忘食的地步，最后终于青出于蓝胜于蓝。他多描绘关陕一带山水，写景绘形更为概括提炼，笔简气壮，景少意长，予人以深刻印象。关仝善画秋山，寒林，村居，野渡等景色，使人看后如身临其境。",[7,23,1352,173,29,27398,15011,5174,174,177,26930],"暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13765a3465f65baf21947eedfd03376f.jpg",[],{"id":27402,"slug":27403,"title":27404,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":27405,"thumbUrl":27406,"material":2164,"size":2165,"collection":139,"collections":27407,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},290423,"shan-hu-zhu-tu-wu-chang-shuo-290423","珊瑚珠图",[7,23,209,24,225,27,83,6196,1173,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2766eac4a62e51b7669d8120e882a655.jpg",[],{"id":27409,"slug":27410,"title":27411,"dynasty":189,"author":3304,"museum":311,"description":27412,"tags":27413,"thumbUrl":27414,"material":2164,"size":2165,"collection":139,"collections":27415,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":49},289966,"hu-lu-hua-ping-chen-lin-289966","葫芦花瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[7,23,209,225,28,27,83,228,84,405,3307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3986e6cdba5c8fe3cba11a642ea6fec6.jpg",[],{"id":27417,"slug":27418,"title":27419,"dynasty":204,"author":2114,"museum":311,"description":22220,"tags":27420,"thumbUrl":27422,"material":2164,"size":2165,"collection":139,"collections":27423,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":49},289771,"zhu-lin-bo-ge-tu-wei-zuo-huang-quan-289771","竹林鹁鸽图（伪作）",[7,23,24,83,225,28,27,226,266,27421],"鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c829119b7ec6055354e9e93d522d247.jpg",[],{"id":27425,"slug":27426,"title":16786,"dynasty":204,"author":278,"museum":311,"description":27427,"tags":27428,"thumbUrl":27429,"material":2164,"size":2165,"collection":139,"collections":27430,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":49},288513,"zha-kou-pan-che-tu-yi-ming-288513","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[7,209,23,24,104,27,106,107,108,109,2278,154,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg",[],{"id":27432,"slug":27433,"title":27434,"dynasty":18,"author":1699,"museum":311,"description":27435,"tags":27436,"thumbUrl":27438,"material":2164,"size":2165,"collection":139,"collections":27439,"showCount":376,"zanCount":1104,"manualWeight":48,"mainColor":94},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[7,23,1352,24,27,28,104,29,1365,107,86,178,263,5535,27437],"读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":27441,"slug":27442,"title":27443,"dynasty":76,"author":278,"museum":311,"description":27444,"tags":27445,"thumbUrl":27447,"material":2164,"size":2165,"collection":139,"collections":27448,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":49},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[7,23,25,27,28,104,106,107,13002,109,264,1087,120,27446,2949,29],"节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],{"id":27450,"slug":27451,"title":27452,"dynasty":204,"author":27453,"museum":311,"description":27454,"tags":27455,"thumbUrl":27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的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[7,225,27,28,29,106,175,136,403,60,210,385,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":27501,"slug":27502,"title":27503,"dynasty":99,"author":936,"museum":311,"description":27504,"tags":27505,"thumbUrl":27506,"material":139,"size":139,"collection":139,"collections":27507,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":49},228282,"fang-tang-ren-jiao-yin-shang-gu-tu-chen-hong-shou-228282","仿唐人蕉荫赏古图","苍劲芭蕉如墨云翻卷，衬着嶙峋古雅的玲珑湖石，辟出一方幽寂天地。宽袍高士踞坐案前，清癯眉眼凝注古物，沉静间漫溢追慕唐风的幽古意趣。侍立童子恭谨端持器物，朴拙身形与高士的沉静古雅相映成趣。\n\n全作用笔清劲凝练，设色古淡沉静，以奇逸高古的造型风格，将文人幽居赏玩的雅静襟怀晕染开来，简淡间尽是悠长的古雅余韵。",[7,23,24,225,27,28,244,106,6829,229,300,281,266,2497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a2a9d4591340b66ef93084f64ccfd1.jpg",[],{"id":27509,"slug":27510,"title":27511,"dynasty":189,"author":767,"museum":311,"description":27512,"tags":27513,"thumbUrl":27514,"material":139,"size":139,"collection":139,"collections":27515,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":49},228083,"shuang-song-tu-wang-meng-228083","双松图","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[7,209,23,24,225,173,177,400,1365,176,29,34,770,8729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],{"id":27517,"slug":27518,"title":27519,"dynasty":76,"author":7940,"museum":583,"description":27520,"tags":27521,"thumbUrl":27522,"material":27523,"size":27524,"collection":181,"collections":27525,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},224463,"shui-ge-you-shan-tu-wang-hui-224463","水阁幽山图","作者称此图仿云西老人（曹知白）画法。曹知白工画山水，兼师宋李成、郭熙、董源、巨然诸古代大家。然此图并非具体临摹曹氏作品，乃是融合宋、元绘画的不同画法的创作。王翚曾言，以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成。该图正是典型作品之一",[7,23,29,177,173,27,13345,734,384,109,466,558,1365,1267,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e27b235c5ee9ec6af8ea24552f3e55.jpg","纸本、设色","纵25cm，横236cm",[181,163],{"id":27527,"slug":27528,"title":27529,"dynasty":76,"author":1215,"museum":311,"description":27530,"tags":27531,"thumbUrl":27532,"material":27533,"size":27534,"collection":181,"collections":27535,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":49},224408,"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[7,23,24,81,27,177,29,30,466,468,34,35,111,558,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[181,328,45],{"id":27537,"slug":27538,"title":27539,"dynasty":76,"author":2924,"museum":311,"description":27540,"tags":27541,"thumbUrl":27542,"material":139,"size":139,"collection":139,"collections":27543,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},224377,"hua-hui-qi-shi-ce-shi-er-kai-7-ju-lian-224377","花卉奇石册-十二开-7","此帧小品清隽雅致，以淡墨皴写湖石，瘦透间带玲珑孔洞，苍朴石色晕染出经年古意，苔迹隐现似藏时光痕迹。石畔新抽的嫩株以没骨晕染，心形叶片从墨绿到浅碧过渡柔润通透，细劲叶脉勾勒出鲜活生机。\n\n两只丹红斑黑的瓢虫悄悄栖止，一在叶端一在石巅，静中生趣，将幽寂小景晕开鲜活意趣。全画笔简意足，设色秀雅柔和，把案头清供的恬然闲趣尽数铺陈，尺幅虽小，却将文人雅室的幽谧诗意凝于画面，尽显雅致侘寂的小帧佳韵。",[7,23,24,81,27,263,83,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6982ad98498646a071e78689c3bf1bf.jpg",[],{"id":27545,"slug":27546,"title":27547,"dynasty":76,"author":27548,"museum":311,"description":27549,"tags":27550,"thumbUrl":27551,"material":139,"size":139,"collection":139,"collections":27552,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},224354,"lin-quan-chun-mu-tu-zhou-jian-jiang-224354","林泉春暮图轴","渐江","此作用笔瘦硬峭拔，以极简勾勒写危崖峻立，皴擦淡简却见山石棱骨清奇。崖间古木槎枒、幽居隐现，水岸扁舟系于浅汀，茅舍独处一隅，寥寥数笔便晕开暮春空山的静寂清寒。\n\n画面留白空灵通透，淡墨轻岚里裹挟着出尘禅意，题诗与画意相融，将杜鹃啼暮的春深意趣和林泉幽隐的襟怀合而为一。笔底萧疏淡远，把江南山水的冷雅秀逸，化作洗尽铅华的林下高致，尽显静穆出尘的画中真意。",[7,23,24,225,173,177,244,29,176,34,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e89fcb2f45dbcaccf688fec7a72e8a.jpg",[],{"id":27554,"slug":27555,"title":98,"dynasty":76,"author":27556,"museum":206,"description":27557,"tags":27558,"thumbUrl":27560,"material":712,"size":27561,"collection":163,"collections":27562,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},224351,"qing-ming-shang-he-tu-shen-yuan-224351","沈源","此画以水墨为主，在用色上，只用赭色稍加勾染，充满清新淡雅之味。在画法上，明显借鉴了当时传入宫廷的西洋“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“布影由阔而狭，以三角量之”的立体效果。虽然受中国审美传统的限制，这种画法在图中有所淡化，但与传统的建筑画相比，三维景物的表现能力确实有了相当大的提高。",[7,209,23,25,173,27,104,107,27559,106,34,120],"街巷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856157eb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一月廿四日眉阳苏轼书。",[7,86,178,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfaffe0183d39974fb89480f5b4ed34f.jpg","27.8厘米×60.6厘米",[328],{"id":27743,"slug":27744,"title":27745,"dynasty":18,"author":746,"museum":206,"description":27746,"tags":27747,"thumbUrl":27748,"material":699,"size":27749,"collection":328,"collections":27750,"showCount":376,"zanCount":1337,"manualWeight":48,"mainColor":94},220037,"dong-wu-tie-su-shi-220037","东武帖","苏轼于元佑四年写的手札",[7,86,178,263,24,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252dbf3f75818f4f173fe00671dccc5.jpg","28.7厘米×66.1厘米",[328],{"id":27752,"slug":27753,"title":27754,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":27755,"thumbUrl":27757,"material":699,"size":21547,"collection":139,"collections":27758,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},220028,"dong-zhuang-tu-ce-zhi-mai-shan-shen-zhou-220028","东庄图册之麦山",[7,23,173,177,81,29,34,35,27756],"麦田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0570bce3a0471b6a4cdf4fab5fb6e623.jpg",[],{"id":27760,"slug":27761,"title":27762,"dynasty":189,"author":24860,"museum":8534,"description":27763,"tags":27764,"thumbUrl":27765,"material":409,"size":27766,"collection":181,"collections":27767,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[7,209,23,24,225,173,177,29,108,109,176,34,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[181],{"id":27769,"slug":27770,"title":4663,"dynasty":99,"author":1362,"museum":447,"description":27771,"tags":27772,"thumbUrl":27773,"material":409,"size":27774,"collection":181,"collections":27775,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":94},219772,"han-lin-tu-wen-zheng-ming-219772","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[7,23,173,225,177,29,865,866,176,109,1776,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[181],{"id":27777,"slug":27778,"title":27779,"dynasty":18,"author":1419,"museum":8534,"description":27780,"tags":27781,"thumbUrl":27782,"material":88,"size":27783,"collection":42,"collections":27784,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},219697,"shang-shan-si-hao-tu-ma-yuan-219697","商山四皓图","《商山四皓图》绘秦末汉初隐居于商山（今陕西省商洛市境内）的四位高士之超迈风神。画中绘冈峦起伏、老树横斜之景，四位高士或策杖而立，或对弈酣战，俊逸磊落。全卷以水墨绘成，山石用马远标志性的“大斧劈皴”，笔法流畅淋漓，苍劲有力。即便该作并非马远亲笔，就其珍贵的艺术性和历史价值，仍应为世人所重。",[7,23,24,2042,28,27,106,29,34,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4b037bb9f139acf9d6f48ab5a68345.jpg","纵33.0厘米 横307.3厘米",[42,44],{"id":27786,"slug":27787,"title":27788,"dynasty":99,"author":3908,"museum":78,"description":27789,"tags":27790,"thumbUrl":27791,"material":88,"size":27792,"collection":44,"collections":27793,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":94},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[7,99,23,24,25,27,28,178,86,263,106,107,175,34,176,115,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[44,328],{"id":27795,"slug":27796,"title":27797,"dynasty":99,"author":10799,"museum":7087,"description":27798,"tags":27799,"thumbUrl":27800,"material":327,"size":27801,"collection":90,"collections":27802,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":49},219333,"gu-song-shuang-que-tu-lin-liang-219333","古松双鹊图","在这幅画中，两只喜鹊爬上一根松枝，寓意吉祥。 笔墨笔墨爽朗，为后世水墨花鸟画的发展树立了典范。",[7,23,173,400,225,83,403,19456,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5813e37306a3d1eca136d2b6f4a716c.jpg","纵140横75厘米",[90],{"id":27804,"slug":27805,"title":27806,"dynasty":18,"author":278,"museum":206,"description":27807,"tags":27808,"thumbUrl":27809,"material":123,"size":27810,"collection":42,"collections":27811,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},218852,"kong-shan-guan-pu-tu-yi-ming-218852","空山观瀑图","画面上画的是悬崖上的松树，枝干粗壮，分叉有致，一位高僧坐在松树下的空位上，看着叮咚作响的泉水，俗话说得好。智者乐水。这幅画复制了李唐和夏圭的笔法，但笔法过分转折，可能是明代浙派画家的作品。",[7,23,24,209,173,177,29,466,1365,558,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[42],{"id":27813,"slug":27814,"title":27815,"dynasty":189,"author":4438,"museum":206,"description":27816,"tags":27817,"thumbUrl":27818,"material":123,"size":139,"collection":139,"collections":27819,"showCount":376,"zanCount":1337,"manualWeight":48,"mainColor":94},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[7,23,24,1352,27,29,34,108,109,37,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":27821,"slug":27822,"title":27823,"dynasty":189,"author":27824,"museum":5803,"description":27825,"tags":27826,"thumbUrl":27828,"material":123,"size":27829,"collection":90,"collections":27830,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":49},218742,"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[7,209,23,24,173,177,29,266,865,11890,27827,1265],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[90],{"id":27832,"slug":27833,"title":27834,"dynasty":204,"author":2585,"museum":206,"description":27835,"tags":27836,"thumbUrl":27837,"material":327,"size":27838,"collection":181,"collections":27839,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":94},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[7,23,24,173,27,29,175,734,34,558,37,177,1842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[181],{"id":27841,"slug":27842,"title":27843,"dynasty":18,"author":278,"museum":132,"description":27844,"tags":27845,"thumbUrl":27846,"material":123,"size":139,"collection":90,"collections":27847,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":49},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[7,209,23,24,28,27,83,4541,407,229,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[90],{"id":27849,"slug":27850,"title":1462,"dynasty":189,"author":17742,"museum":206,"description":27851,"tags":27852,"thumbUrl":27853,"material":123,"size":27854,"collection":181,"collections":27855,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":49},218462,"shan-shui-tu-tang-di-218462","岩石被涂成了小绿，而特写中通往房子的楼梯被涂上了边框，这是一种干净整洁的技术。桌椅的轮子上涂有红色的朱砂，与石头的绿色相映成趣，给人一种古老而优雅的感觉。",[7,23,209,29,26,27,106,107,866,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb9e8dcf01ecc2b0641455fe02e2a43.jpg","114x57.5",[181],{"id":27857,"slug":27858,"title":27859,"dynasty":76,"author":7940,"museum":20,"description":27860,"tags":27861,"thumbUrl":27862,"material":88,"size":27863,"collection":181,"collections":27864,"showCount":376,"zanCount":1337,"manualWeight":48,"mainColor":94},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[7,23,24,225,173,177,29,34,1365,176,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[181],{"id":27866,"slug":27867,"title":27868,"dynasty":99,"author":2146,"museum":447,"description":3457,"tags":27869,"thumbUrl":27870,"material":123,"size":3460,"collection":139,"collections":27871,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":49},218349,"ren-wu-gu-shi-ce-2-tang-yin-218349","人物故事册-2",[7,23,24,81,27,106,1542,229,866,928,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca306525f4cf012010116dad3d5517c.jpg",[],{"id":27873,"slug":27874,"title":2423,"dynasty":99,"author":278,"museum":1098,"description":27875,"tags":27876,"thumbUrl":27878,"material":409,"size":27879,"collection":181,"collections":27880,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":94},217955,"lian-she-tu-yi-ming-217955","《莲花社》说了慧远的故事：东晋元兴年间，慧远在庐山东林寺与十八位专修净土的圣人一起，寻求脱离污秽之地，希望往生极乐世界。",[7,209,23,25,24,243,8567,106,86,178,27877],"莲社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15dee5dc0c3904ed22a998b96f72a044.jpg","30.1x595.8cm",[181,44],{"id":27882,"slug":27883,"title":27884,"dynasty":99,"author":278,"museum":447,"description":27885,"tags":27886,"thumbUrl":27891,"material":123,"size":139,"collection":181,"collections":27892,"showCount":376,"zanCount":48,"manualWeight":48,"mainColor":49},217262,"jiang-nan-nong-shi-tu-yi-ming-217262","江南农事图","江南农事图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了江南农村的生活场景，包括农田耕作、收割、加工、运输、种植和养殖等内容。\n\n图画中有许多细节生动地展现了当时农村的生活方式。例如，图中的农夫们正在用牛耕地、用手提灌溉水桶灌溉农田，农妇们则在用手提筐采摘水果和蔬菜。图中还有农民们用手车运输农产品\n的场景。\n\n江南农事图还描绘了许多农村的建筑物，例如水井、磨坊、茅草屋等。这些建筑物是农民们生活中不可或缺的部分，在图中也得到了生动的展现。\n\n总之，江南农事图是一幅生动形象的作品，展现了明朝时期江南农村生活的精彩细节。它不仅是一幅艺术杰作，同时也是对历史的珍贵记录。",[7,23,209,27,27887,13834,151,106,27888,27889,27890,29,25924],"农耕","茅草屋","水井","磨坊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364f4bcc6551cb321b7a8a08cdfe4ee.jpg",[181],{"id":27894,"slug":27895,"title":27896,"dynasty":99,"author":27897,"museum":206,"description":27898,"tags":27899,"thumbUrl":27900,"material":409,"size":27901,"collection":328,"collections":27902,"showCount":376,"zanCount":2209,"manualWeight":48,"mainColor":629},214224,"gong-yan-shi-song-ke-214224","公宴诗","宋克","公宴诗是一首中国古代诗歌，作者是宋克明。公宴是中国古代的一种社交形式，通常由统治者或较高社会地位的人主办，以向与会者表示尊敬和感谢。\n\n这首诗歌描述了一场公宴的气氛和场景，表达了作者对古代文化和社会生活的热爱。根据诗歌的内容，我们可以想象出这场公宴是一个盛大而隆重的活动，充满了美食、音乐、艺术、娱乐和交流的氛围。",[7,23,24,86,225,178,2570,173,939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c8d2b7b8096f89247b372eedeb655.jpg","111.7x32.4",[328],{"id":27904,"slug":27905,"title":27906,"dynasty":76,"author":27907,"museum":311,"description":27908,"tags":27909,"thumbUrl":27911,"material":2164,"size":2165,"collection":139,"collections":27912,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},290394,"chang-cheng-nei-wai-li-zhou-qian-song-nie-290394","长城内外立轴","钱松喦","此作用笔苍厚老辣，以浓墨重笔皴染危崖巨嶂，长城如苍龙盘亘山脊，雄姿尽显。山间留白晕染流云雾气，虚实相生里拉开空间层次。\n\n画作打破传统山水的古意局限，将山脊上的新旧烽塔、山下的新式厂区与高原驼队并置，把山河厚重的古韵与新生的蓬勃生机融为一体，既保留了传统山水画的悠远意境，又以细腻视角定格时代变迁，让长城不再只是关山隘口的符号，更成为连接古今、见证山河新生的载体，尽显家国山河的壮阔温情。",[7,23,225,29,27,173,177,27910,557,37,194,150,263],"长城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f285f6425982a1654d5b14d945ea01.jpg",[],46,{"id":27915,"slug":27916,"title":3211,"dynasty":189,"author":27917,"museum":311,"description":27918,"tags":27919,"thumbUrl":27920,"material":2164,"size":2165,"collection":139,"collections":27921,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},290138,"xue-zhu-tu-tan-zhi-rui-290138","檀芝瑞","檀芝瑞，明代画家，生卒年不详。只见于《中国美术人名大辞典》，寥寥数语。介绍为元代人，擅长梅兰墨竹。",[7,209,23,24,173,226,229,1775,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19287786270e4376bfc16080de26ef0.jpg",[],{"id":27923,"slug":27924,"title":27925,"dynasty":18,"author":1677,"museum":311,"description":27926,"tags":27927,"thumbUrl":27930,"material":2164,"size":2165,"collection":139,"collections":27931,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},289788,"shen-tang-qin-qu-tu-ma-lin-289788","深堂琴趣图","此图描写山斋数楹，葱树掩映，一人于堂中抚琴，二鹤在琴声中闲步。远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。",[7,1352,23,209,27,28,29,107,108,34,27928,5310,27929,263],"厅堂","雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f01482f6dbe10ed17a90037b2e3219.jpg",[],{"id":27933,"slug":27934,"title":27935,"dynasty":54,"author":485,"museum":311,"description":24198,"tags":27936,"thumbUrl":27938,"material":2164,"size":2165,"collection":139,"collections":27939,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},287311,"li-dai-di-wang-tu-juan-chang-juan-se-dan-yan-li-ben-287311","历代帝王图卷长卷（色淡）",[7,209,23,25,27,106,28,3112,11709,27937,86],"群臣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411a33cef4504359b61294216f06577b.jpg",[],{"id":27941,"slug":27942,"title":27943,"dynasty":76,"author":278,"museum":311,"description":27944,"tags":27945,"thumbUrl":27946,"material":139,"size":139,"collection":139,"collections":27947,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":94},234225,"lan-zhu-juan-yi-ming-234225","兰竹卷","此作用水墨写意挥洒兰竹，尽显草木清魂。中锋走笔写竹干，枯湿浓淡区分老干新篁，笔力沉厚见挺劲；焦墨撇写竹叶，聚散疏密如惊风穿林，欹斜之中自带着清刚傲骨。兰叶以淡墨舒卷，笔致柔婉修长，与劲竹刚柔相映，芝石以破墨晕染，静立草木之侧，更衬幽逸。\n\n长卷铺陈间虚实相生，留白空灵如江上烟岚，兰竹俯仰顾盼，似有风过林动，清韵暗生。笔墨简淡而意态丰盈，将林下幽人的疏旷襟怀藏于毫锋，尽显文人画重韵尚简的雅趣风骨。",[7,23,24,25,173,406,226,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9161ab891439c39cd6b1c0c97e0f882.jpg",[],{"id":27949,"slug":27950,"title":14982,"dynasty":189,"author":3051,"museum":132,"description":27951,"tags":27952,"thumbUrl":27953,"material":67,"size":27954,"collection":139,"collections":27955,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":49},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[7,23,24,25,27,28,1904,83,511,606,607,84,940,284,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],{"id":27957,"slug":27958,"title":27959,"dynasty":76,"author":12256,"museum":78,"description":27960,"tags":27961,"thumbUrl":27962,"material":67,"size":27963,"collection":139,"collections":27964,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[7,104,28,27,29,107,175,34,176,4064,108,115,114,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 厘米",[],{"id":27966,"slug":27967,"title":27968,"dynasty":204,"author":1733,"museum":311,"description":27969,"tags":27970,"thumbUrl":27972,"material":139,"size":139,"collection":139,"collections":27973,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":49},231033,"ting-yuan-tong-xi-tu-zhou-wen-ju-231033","庭院童戏图","画面里，玲珑湖石错落而立，旁侧蜀葵抽茎绽红，晕开雅致清幽的庭中底色。三个稚童于廊下嬉玩，或俯地、或跪坐，手持玩具专注投入，憨态天真尽显笔端。\n\n作者以精细笔触勾勒出衣纹的软柔灵动，设色古雅温润，将孩童嬉闹的鲜活日常描摹得生动自然。静谧庭苑与稚子烂漫相映，把细碎童趣晕化成悠然平和的古典意趣，藏着旧时世家庭院里的温柔烟火气。",[7,209,23,24,28,27,106,27971,229,108,115,284,84],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8bf418623c3f4f8d9458352c316f86.jpg",[],{"id":27975,"slug":27976,"title":27977,"dynasty":277,"author":278,"museum":311,"description":27978,"tags":27979,"thumbUrl":27980,"material":2164,"size":2165,"collection":139,"collections":27981,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},230546,"shan-shui-ping-feng-yi-ming-230546","山水屏风","泥金为底，石青石绿晕染出层叠丘壑，斑驳残损的绢面晕开岁月晕染的朦胧诗意。画面铺展开合间，远岫浮空，浅渚横陈，近岸疏林错落，将山野清趣与人间烟火揉为一体。\n\n林间隐着村居茅舍，有人正于门前流连；一侧道旁，行旅牵马暂歇，三两山客徐行林麓。没有枯寂的出世幽冷，反将隐逸山居的闲静与俗世行旅的暖意相融，笔致简淡却意韵悠长。古旧的肌理裹着山水古意，让丘壑烟岚与市井日常温柔相逢，漫溢出沉静古朴的雅致意趣。",[7,23,24,27,26,29,384,106,150,35,734,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86e9104c686a6523976541b0b99df0c.jpg",[],{"id":27983,"slug":27984,"title":27985,"dynasty":76,"author":27986,"museum":311,"description":27987,"tags":27988,"thumbUrl":27990,"material":139,"size":139,"collection":139,"collections":27991,"showCount":27913,"zanCount":1337,"manualWeight":48,"mainColor":49},230229,"guang-xu-tong-guang-shi-san-jue-zhong-cai-tu-juan-shen-rong-pu-230229","光绪 同光十三绝重彩图卷","沈蓉圃","此作工笔重彩刻画入微，将十三位梨园宗师的神采风骨定格于卷上。生旦净丑各行当扮相俱全，衣饰纹样繁丽精工，珠翠翎毛分毫毕现。各人眉眼神态各有千秋，或威严凝重，或温婉柔媚，或诙谐灵动，既带着戏中角色的魂魄，又留存着名伶本人的气韵，将晚清京剧鼎盛之时的风华凝于尺幅之间，让百年前的梨园风姿鲜活重现于眼前。",[7,209,23,24,25,27,8035,28,106,27989,63],"戏曲人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a6d01122cb40fed604a2d2815de271.jpg",[],{"id":27993,"slug":27994,"title":27995,"dynasty":99,"author":170,"museum":311,"description":27996,"tags":27997,"thumbUrl":27998,"material":139,"size":139,"collection":139,"collections":27999,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},228838,"lian-hua-dou-jia-tu-ce-shen-zhou-228838","莲花豆荚图册","此作用笔松秀淡逸，以清浅墨色晕染果实，晕化柔和雅致，墨色层次疏淡清润，墨点点缀其上，朴拙天真，尽得果实鲜活意态。枝叶以枯淡墨线勾勒，笔致苍劲随性，不求描摹工细，却将叶片舒展之姿尽显，枯荣之态暗含其间。\n画面留白开阔疏朗，以简驭繁，尽显文人写意的简淡风骨，将日常乡野小景，绘出悠然清逸的林下意趣，平淡之中藏着天真雅致的文人心境，笔底全是松弛自在的闲适之味。",[7,209,23,24,81,173,83,18371,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db9f55c64cddb22c8eac5284a05317e.jpg",[],{"id":28001,"slug":28002,"title":28003,"dynasty":99,"author":10349,"museum":311,"description":28004,"tags":28005,"thumbUrl":28006,"material":139,"size":139,"collection":139,"collections":28007,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":94},228369,"pi-pa-mei-ren-tu-wu-wei-228369","琵琶美人图","《琵琶美人图》是吴伟创作的一幅中国国画作品，创作于明代。\n该画纸本水墨，现藏于美国印地安那波里斯美术馆。\n作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n吴伟的这件传世国画作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n作者采用近白描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n画面无任何背景，主体突出，简洁明快。\n作品上面上有孙一元、黄姬水等三人题的诗跋，称“江夏兹图，允为神品”。\n《琵琶美人图》在表现技法上与工笔白描一体，略似北宋李公麟。\n但是较之画家早年的《铁笛图》，更加流畅秀润，风神俊爽。\n《画史会要》、《 》等著录。\n画一位手抱琵琶的女子,侧面低首,神情幽怨哀愁。\n画家用近折描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n吴伟（1459-158 ），江夏（今湖北武昌）人。\n龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。\n弱冠至金陵画名遂起。\n相传伟性戆直，有气岸而豪放，尝遇庞老人击石得髓，伟饮其半，遂以画名。\n成国朱公延至幕下，以小仙呼之，因以为号。\n宪宗时待诏仁智殿，好剧饮狎妓，人欲得伟画者，则载酒携妓往。\n一日被诏正醉，中官扶掖入殿，命作松泉图。\n伟跪翻墨汁，信手涂抹，宪宗叹曰：「真仙笔也。\n]又孝宗命画称旨，授锦衣百户，赐印章曰「画状元」。\n吴伟画人物出自吴道子，纵笔不甚经意，而奇逸潇洒动人，山水树石俱作斧劈皴。\n白描尤佳。\n尝游 渴，从老妪索茗，明年复过之，老妪已谢世。\n援笔追写其像，其子见之大恸，乞而藏之。\n又尝饮友人家，酒间作画，戏取莲房濡墨印纸上数处，莫测其用意，忽起纵笔挥洒成捕蟹图，最为神妙。\n孝宗喜马、夏画风，而画院戴进、吴伟均承继马、夏，成为一时风尚，号为“浙派”。\n吴伟亦号“江夏派”。\n其后吴派既盛，浙派渐归澌灭。\n卒年五十。",[7,23,24,225,244,173,106,59,210,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5696b91097f04f9e47a6f55178478.jpg",[],{"id":28009,"slug":28010,"title":28011,"dynasty":18,"author":28012,"museum":311,"description":28013,"tags":28014,"thumbUrl":28015,"material":139,"size":139,"collection":139,"collections":28016,"showCount":27913,"zanCount":1337,"manualWeight":48,"mainColor":94},227586,"huo-lang-tu-ye-xu-chong-ju-227586","货郎图页","徐崇矩","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。流传作品不多，《宣和画谱》著录御府所藏其作品有《夭桃图》《折枝桃花图》《仕女图》《紫燕药苗图》《萱草猫图》《花竹捕雀猫图》等14件。《红蓼水禽图》册页传为崇矩所作，为其传世作品，现藏故宫博物院。",[7,209,23,24,81,28,27,106,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcf30c4506bba83e0d7658c832494ed.jpg",[],{"id":28018,"slug":28019,"title":28020,"dynasty":18,"author":461,"museum":311,"description":28021,"tags":28022,"thumbUrl":28023,"material":139,"size":139,"collection":139,"collections":28024,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","雪山楼阁图","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[7,209,23,24,225,177,173,29,734,1775,107,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":28026,"slug":28027,"title":1136,"dynasty":204,"author":3687,"museum":311,"description":28028,"tags":28029,"thumbUrl":28031,"material":139,"size":139,"collection":139,"collections":28032,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},227439,"pi-pa-shan-niao-tu-huang-quan-227439","宋徽宗名下流传至今的绘画作品面貌多样，既有雍容典雅的重彩工笔，也有古拙朴茂的粗笔水墨。所以历来对其真伪归属多有争论可谓画史的一段公案，一般认为工丽细致的院体风格是他人代笔或是御题画，而朴拙一路则是徽宗亲笔真迹。现藏于北京故宫博物院的《枇杷山鸟图》是学界一致公认的宋徽宗赵佶的真迹之一。本画为绢本设色，纵22.6厘米，横24.5厘米，画上题有“天下一人”的御笔花押。此幅《枇杷山鸟图》设色极淡，又因年代久远几乎不能分辨，看上去就如同单纯的水墨画一般。画中景物工写相参，渲染精细，犹如黑白老照片，在宋代绘画中别具一格。",[7,209,23,24,28,27,83,1140,28030,759],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bc94a04488f0b800bfb8c8250fa6ac.jpg",[],{"id":28034,"slug":28035,"title":28036,"dynasty":18,"author":1793,"museum":311,"description":8816,"tags":28037,"thumbUrl":28038,"material":139,"size":139,"collection":139,"collections":28039,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图",[7,23,24,209,27,28,808,11064,466,176,266,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],{"id":28041,"slug":28042,"title":28043,"dynasty":204,"author":2114,"museum":311,"description":28044,"tags":28045,"thumbUrl":28046,"material":2164,"size":2165,"collection":139,"collections":28047,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[7,23,209,25,28,27,1904,83,266,4541,3690,940,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":28049,"slug":28050,"title":10438,"dynasty":76,"author":9090,"museum":311,"description":28051,"tags":28052,"thumbUrl":28053,"material":139,"size":139,"collection":139,"collections":28054,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[7,23,225,27,177,29,108,109,175,1365,176,107,106,466,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":28056,"slug":28057,"title":28058,"dynasty":76,"author":16577,"museum":78,"description":28059,"tags":28060,"thumbUrl":28061,"material":699,"size":28062,"collection":181,"collections":28063,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":49},224493,"huai-rong-tang-tu-wu-li-224493","槐荣堂图","此画设色清丽，右侧题“夫山高阳氏槐荣堂图”， 左下角书“虞山吴历画”，没有年代落款，卷首处有王时敏所题“公槐瑞应”，卷后有尤侗《槐荣堂记》与李楷《槐荣堂赋》，以及宋实颖、陆贻典、王奕鸿、吴伟业题跋。\n画面近景处 树石围绕，是为槐荣堂，槐荣堂背后峰峦数重，烟云缥缈，两峰之间一条小径隐于林间。\n槐荣堂右下方的近景处，有田野树林，左侧隐约可见远处的村舍。槐荣堂正中有一棵高大挺拔的槐 树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[7,23,24,27,29,177,734,282,384,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[181,45],{"id":28065,"slug":28066,"title":28067,"dynasty":76,"author":4406,"museum":311,"description":28068,"tags":28069,"thumbUrl":28070,"material":139,"size":139,"collection":139,"collections":28071,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[7,23,24,225,173,177,105,29,466,34,107,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":28073,"slug":28074,"title":28075,"dynasty":76,"author":7940,"museum":222,"description":28076,"tags":28077,"thumbUrl":28078,"material":10804,"size":27524,"collection":181,"collections":28079,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[7,23,24,25,173,27,29,177,86,178,263,734,282,1365,107,34,229,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg",[181,163],{"id":28081,"slug":28082,"title":28083,"dynasty":76,"author":2924,"museum":311,"description":28084,"tags":28085,"thumbUrl":28086,"material":139,"size":139,"collection":139,"collections":28087,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},224372,"hua-hui-qi-shi-ce-shi-er-kai-12-ju-lian-224372","花卉奇石册-十二开-12","此作用笔灵动兼具工致，奇石以淡墨皴擦晕染，瘦透古朴，孔洞藏幽，自带嶙峋古意。左侧水仙双钩填色，莹白花瓣勾勒细腻，嫩黄花心娇柔明媚，翠叶舒展回转，韵致清雅脱俗。右上角附石幽兰，青叶劲挺，素花轻绽，暗透幽香。\n\n整幅设色明丽秀雅，工写相融，没骨笔法鲜活生动，将花草清隽与湖石古拙相映成趣，尽显妍丽细腻的风韵，把案头清供的雅致意趣铺陈开来，淡逸娴静的文人雅韵漫溢绢素。",[7,23,24,81,27,28,83,405,229,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c2edb1768b60a8a2314d604f95911.jpg",[],{"id":28089,"slug":28090,"title":28091,"dynasty":99,"author":278,"museum":101,"description":28092,"tags":28093,"thumbUrl":28094,"material":573,"size":28095,"collection":139,"collections":28096,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":629},223577,"hou-lu-tu-yi-ming-223577","猴鹿图","画面既有对峙的情绪，又不失诙谐，展示出猕猴调皮的一面。",[7,23,28,27,808,11064,4778,384,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3990bd328b807f7169b28a5e1559bb9a.jpg","17.8x22.2",[],{"id":28098,"slug":28099,"title":28100,"dynasty":204,"author":278,"museum":206,"description":28101,"tags":28102,"thumbUrl":28103,"material":302,"size":28104,"collection":181,"collections":28105,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},223343,"wu-dai-ren-qiu-lin-qun-lu-zhou-yi-ming-223343","五代人秋林群鹿轴","在尽情展露盛夏的绿意之后，秋天这个令人舒爽怡然的季节跟著悄然到来，所有的树叶在此时染上了缤纷的色彩，深红、淡橘、浅黄、碧蓝……似乎要赶在严冬来临之前，释放所有的美丽。鹿群抵不住诱人的秋色，踩著轻快脚步进入这片色彩斑斓的秋林，瞧鹿儿所呈现的各种姿态，彷若与眼前丰美的景色唱和起舞。\n《秋林群鹿》主要在描写鹿群于秋林中活动的各式神情，作画的人已经佚失，只知道曾经是属于元代皇帝的收藏。从作品的形式风格而言，充满装饰趣味的空间陈置，以及如此丰富的色彩勾填，都不常见于人们所熟知的中国绘画作品中，有学者推测，这件作品与邻近国家如辽国，甚至更远的中亚之间，存有十分密切的关系",[7,23,225,27,5613,4778,384,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f45cd68073dee3a98e941f2ee82b50.jpg","118.4x63.8公分",[181,45],{"id":28107,"slug":28108,"title":28109,"dynasty":99,"author":27096,"museum":583,"description":28110,"tags":28111,"thumbUrl":28115,"material":1411,"size":28116,"collection":181,"collections":28117,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[7,23,25,27,177,29,176,34,107,175,108,109,37,1265,10431,1082,28112,1871,4970,468,560,559,10568,28113,28114],"丘壑","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[181,45],{"id":28119,"slug":28120,"title":28121,"dynasty":99,"author":862,"museum":17053,"description":28122,"tags":28123,"thumbUrl":28124,"material":40,"size":28125,"collection":139,"collections":28126,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":49},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[7,23,225,29,177,27,734,282,174,34,107,176,31,1268,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":28128,"slug":28129,"title":28130,"dynasty":99,"author":28131,"museum":56,"description":28132,"tags":28133,"thumbUrl":28134,"material":67,"size":28135,"collection":181,"collections":28136,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":255},222549,"ma-shi-yan-yu-tu-sheng-ying-222549","马嗜烟雨图","盛颖","此图绘寺庙景色。寺院墙外树木、楼阁处于云烟细雨中，有一种缥缈梦幻之意境；院内庙宇数座，可见正前方大雄宝殿中立一大鼎，房前树木粗壮苍翠。全图以俯视视角绘出，房屋建造遵循南北趋势，院中有院，整个建筑宏大考究。",[7,23,24,27,104,263,107,34,37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所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[7,23,1218,3202,173,6350,177,28161,28162,28163,14060,28164,34,5967,3899,865,28165,28166,1269,1265,558,28167,28168,28169,28170,28171,28172,28173],"大斧劈皴","夹叶法","点叶法","归舟","溪桥","村舍","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","纵143 厘米，横81.8 厘米",[],{"id":28178,"slug":28179,"title":28180,"dynasty":189,"author":921,"museum":20,"description":28181,"tags":28182,"thumbUrl":28183,"material":40,"size":28184,"collection":44,"collections":28185,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},221773,"zhang-guo-jian-ming-huang-tu-quan-juan-ren-ren-fa-221773","张果见明皇图全卷","此卷是元代画家任仁发人物故事画的代表作。图绘传说中的“八仙”之一张果老及其弟子谒见唐明皇的故事。画面截取张果老施法术于明皇前的片断。图右侧一老者坐绣墩上，着青衣，双掌向上，面带微笑作言语状。身前一小童于布袋中放出鞍辔皆全的小驴，驴作奔跑状。左侧一人着黄袍，戴幞头，坐于椅上，头略低，对所发生的一切表现出关注的神情。此人身材壮伟，面相庄严，显然是唐玄宗李隆基。其身后站立的四名侍从神情各异。全图设色明丽古雅，人物表情生动细腻，瞬间的动态表现得极为成功，小驴的奔跑构成了全图的视觉中心，将所有人的目光集中于此，增强了画面的故事性。张果老的沉着自如，唐玄宗略带惊讶的神情，表现得恰到好处，体现了元代人物画高超的艺术水平。\n本幅左下款署：“云间任仁发笔。”下钤“任氏子明”印。画面中部有清弘历题七言诗一首，末款“甲申夏六月上浣御题。”",[7,23,24,25,27,28,106,263,86,63,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534612c4c5adfdb60bcc11e1eab2da2b.jpg","纵41.5cm，横107.3cm",[44,45],{"id":28187,"slug":28188,"title":28189,"dynasty":18,"author":5793,"museum":20,"description":28190,"tags":28191,"thumbUrl":28192,"material":40,"size":28193,"collection":139,"collections":28194,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},221610,"shu-liu-han-ya-liang-kai-221610","疏柳寒鸦","本幅款识：“梁楷”。\n图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[7,23,209,1352,173,7834,83,2607,23544,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12681876ad222db36245da81d5c54f6.jpg","纵26.4厘米，横24.2厘米",[],{"id":28196,"slug":28197,"title":6542,"dynasty":18,"author":2297,"museum":20,"description":28198,"tags":28199,"thumbUrl":28200,"material":573,"size":28201,"collection":42,"collections":28202,"showCount":27913,"zanCount":1104,"manualWeight":48,"mainColor":49},221560,"su-wu-mu-yang-tu-li-di-221560","李迪（生卒年不详），南宋画家，河阳（今河南孟州南）人。供职于孝宗、光宗、宁宗三朝画院。擅写生，花鸟、竹石、走兽皆精，亦作山水小景。大幅气象豪迈，小品精细入微，晚年犹能作纤入毫笔的刻画。存世作品有《雪树寒禽图》《枫鹰雉鸡图》《风雨归牧图》等。",[7,209,23,24,1352,27,244,106,6545,808,384,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[42,44,45],{"id":28204,"slug":28205,"title":28206,"dynasty":18,"author":553,"museum":9826,"description":21860,"tags":28207,"thumbUrl":28208,"material":28209,"size":28210,"collection":42,"collections":28211,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},221287,"dai-du-tu-ye-guo-xi-221287","待渡图页",[7,23,24,81,173,27,29,865,174,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946bc8b1acd959ef038570ca597f5d99.jpg","册页绢本设色","26.1x30.4厘米",[42,181,163],{"id":28213,"slug":28214,"title":28215,"dynasty":54,"author":3797,"museum":206,"description":28216,"tags":28217,"thumbUrl":28218,"material":712,"size":28219,"collection":181,"collections":28220,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":49},221073,"yuan-ma-zhou-han-gan-221073","猿马轴","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[7,23,225,28,27,808,11064,150,384,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","48.58X136.8",[181,163],{"id":28222,"slug":28223,"title":28224,"dynasty":54,"author":616,"museum":20,"description":7566,"tags":28225,"thumbUrl":28226,"material":699,"size":25953,"collection":328,"collections":28227,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},221056,"zheng-zuo-wei-tie-yan-zhen-qing-221056","争座位帖",[7,86,178,620,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4f31613656912ca6722b669276b4fd.jpg",[328,2097],{"id":28229,"slug":28230,"title":28231,"dynasty":189,"author":645,"museum":20,"description":28232,"tags":28233,"thumbUrl":28234,"material":1577,"size":28235,"collection":44,"collections":28236,"showCount":27913,"zanCount":1104,"manualWeight":48,"mainColor":94},220874,"zi-hua-xiang-tu-ye-zhao-meng-fu-220874","自画像图页","《自画像》，绢本，设色画。款识：“大德己亥子昂自写小像。”对幅有明宋濂小楷书《赵文敏公小像赞》，北京故宫博物院藏。《故宫博物院藏文物珍品全集·元代绘画》《归去来兮——赵孟頫书画珍品回家展特集》中影印出版。",[7,23,24,81,27,28,106,226,283,1267,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b94c7ac9ae3d7d98482b82096ffae03.jpg","纵24cm，横23cm",[44,45],{"id":28238,"slug":28239,"title":20863,"dynasty":76,"author":7940,"museum":101,"description":28240,"tags":28241,"thumbUrl":28242,"material":409,"size":28243,"collection":181,"collections":28244,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[7,23,173,27,177,29,176,34,109,175,5535,557,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[181],{"id":28246,"slug":28247,"title":28248,"dynasty":76,"author":16577,"museum":20,"description":28249,"tags":28250,"thumbUrl":28251,"material":88,"size":28252,"collection":181,"collections":28253,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[7,209,23,24,25,173,177,29,34,37,31,174,1265,7690,38,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[181,45],{"id":28255,"slug":28256,"title":28257,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":28258,"thumbUrl":28259,"material":699,"size":1533,"collection":139,"collections":28260,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},220029,"dong-zhuang-tu-ce-zhi-guo-lin-shen-zhou-220029","东庄图册之果林",[7,23,173,81,177,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7883293037442bb32ef56c41bce1454.jpg",[],{"id":28262,"slug":28263,"title":28264,"dynasty":99,"author":170,"museum":1529,"description":1530,"tags":28265,"thumbUrl":28266,"material":88,"size":1533,"collection":139,"collections":28267,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[7,23,24,81,173,177,29,108,109,174,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":28269,"slug":28270,"title":28271,"dynasty":189,"author":1539,"museum":206,"description":28272,"tags":28273,"thumbUrl":28274,"material":409,"size":28275,"collection":181,"collections":28276,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":94},219964,"shu-lin-yuan-shan-tu-wu-zhen-219964","疏林远山图","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[7,23,209,24,29,173,177,1265,5614,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[181],{"id":28278,"slug":28279,"title":28280,"dynasty":18,"author":21315,"museum":21316,"description":28281,"tags":28282,"thumbUrl":28283,"material":123,"size":28284,"collection":44,"collections":28285,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},219624,"fu-nie-pan-tu-lu-xin-zhong-219624","佛涅槃图","本作品描绘了释迦在跋堤河边的婆罗双树之间圆寂的情景，是佛教传说中的一个重要场景。以法隆寺五重塔塔本塑像为首，日本早有表现涅槃场景的造像，而以涅般图为本尊像的涅槃法会，也于平安时代初期起成为惯例。涅槃图受到来自中国的影响，同时通过各个时代宗派盛行制作并独立发展开去。\u2028本图在涅槃图之中也具有非常独特的形式，绘制于中国南宋时代的贸易之都宁波，后被日本求得。娑罗树被描绘成两颗宝树，而释迦周围的众弟子并无悲伤表情，胡人打扮的人物围着香炉起舞，似在赞叹涅槃，这一点也实属罕见。有人设想这种图画形式形成的背景是当时宁波成熟的信仰文化。\u2028 画面右方中间有小楷落款“庆元府车桥石板巷陆信忠笔”，可知该画是在宁波被称为庆元府时期(1195～1276)由职业画匠(佛画师)陆信忠(工房)所作。本佛画彩色浓厚，绘画线条细致有力，兼有细腻彩色花纹，表现力极强，也许是大量使用了中间色的缘故，该作令人感受到先期佛画的变迁。在标有陆信忠落款的作品中，该作品与本馆馆藏的十王图并列堪称最为上乘之佳作。再者，裱具上部用墨写有“天王宝物”。此作为爱知津岛神社别当寺宝寿院相传之物。",[7,23,24,225,243,27,28,106,384,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c223a3fdb98418bbf872b6bcd5ca04.jpg","纵157.1横82.9",[44],{"id":28287,"slug":28288,"title":28289,"dynasty":18,"author":3051,"museum":20,"description":28290,"tags":28291,"thumbUrl":28293,"material":88,"size":28294,"collection":44,"collections":28295,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[7,23,24,25,27,28,178,263,106,29,229,402,60,28292],"书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[44],{"id":28297,"slug":28298,"title":12334,"dynasty":189,"author":278,"museum":206,"description":28299,"tags":28300,"thumbUrl":28301,"material":123,"size":28302,"collection":90,"collections":28303,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},219239,"hua-hu-tu-yi-ming-219239","松林石涧间,一巨虎黄皮黑纹,毛色鲜丽,体态威武雄壮.虎之双眼,俱以金粉涂饰,并略染汁绿,显得格外神气逼人.其背隆起,宛如张弓欲发,隐然有即将出击之势.虎口微启,低吟而未啸.树梢,二山鹧见状,相与惊跃鸣叫,更为此猛虎出山的场景,平添紧张、不安的气息.通幅描绘如真,渍染极得润厚的韵致.画无名款,旧签定为元人.惟据画风判断,与明代宫廷画风,颇多相近处,是以推断,本幅或出自明代良工之手",[7,23,225,27,8436,176,34,928,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb563ac7aba93522a5230f6ac6e3bb83c.jpg","206.5x122cm",[90],{"id":28305,"slug":28306,"title":28307,"dynasty":18,"author":11652,"museum":206,"description":28308,"tags":28309,"thumbUrl":28310,"material":123,"size":28311,"collection":42,"collections":28312,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":49},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[7,209,23,24,225,28,27,83,266,229,928,62,7803,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[42,90,45],{"id":28314,"slug":28315,"title":1462,"dynasty":99,"author":28316,"museum":8393,"description":28317,"tags":28318,"thumbUrl":28319,"material":28320,"size":139,"collection":181,"collections":28321,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},219099,"shan-shui-tu-zhang-hong-219099","张宏","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[7,209,23,24,225,173,177,29,734,282,34,35,37,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[181],{"id":28323,"slug":28324,"title":28325,"dynasty":76,"author":28326,"museum":447,"description":28327,"tags":28328,"thumbUrl":28329,"material":123,"size":28330,"collection":90,"collections":28331,"showCount":27913,"zanCount":1337,"manualWeight":48,"mainColor":49},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[7,209,23,24,28,27,83,264,12751,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[90],{"id":28333,"slug":28334,"title":28335,"dynasty":18,"author":8332,"museum":206,"description":28336,"tags":28337,"thumbUrl":28338,"material":123,"size":28339,"collection":42,"collections":28340,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[7,23,209,28,173,27,5174,17891,176,808,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[42],{"id":28342,"slug":28343,"title":1462,"dynasty":189,"author":18509,"museum":206,"description":28344,"tags":28345,"thumbUrl":28346,"material":409,"size":28347,"collection":181,"collections":28348,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},218826,"shan-shui-tu-fang-cong-yi-218826","这幅画显示了云层耸立在山峰之上，笔触犀利而清晰。人们怀疑这幅画被后来的人裁剪过，而且画的下部有很大一部分缺失，其含义也不完整。张大千捐赠",[7,23,24,173,177,29,176,34,1423,866,12037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[181],{"id":28350,"slug":28351,"title":16429,"dynasty":18,"author":1395,"museum":206,"description":28352,"tags":28353,"thumbUrl":28354,"material":123,"size":28355,"collection":181,"collections":28356,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},218822,"guan-shan-xing-lv-tu-li-tang-218822","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[7,209,23,24,81,29,109,174,107,558,1365,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[181],{"id":28358,"slug":28359,"title":28360,"dynasty":18,"author":278,"museum":206,"description":28361,"tags":28362,"thumbUrl":28363,"material":123,"size":28364,"collection":42,"collections":28365,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},218692,"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[7,23,24,209,28,27,83,3899,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[42],{"id":28367,"slug":28368,"title":28369,"dynasty":99,"author":278,"museum":447,"description":3650,"tags":28370,"thumbUrl":28371,"material":88,"size":139,"collection":139,"collections":28372,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":94},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)",[7,23,173,81,105,29,866,865,175,109,108,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a3aa4634d316f237a6ce6618e6632b.jpg",[],{"id":28374,"slug":28375,"title":28376,"dynasty":18,"author":676,"museum":101,"description":28377,"tags":28378,"thumbUrl":28379,"material":327,"size":14919,"collection":44,"collections":28380,"showCount":27913,"zanCount":1337,"manualWeight":48,"mainColor":94},216770,"xiao-jing-tu-chang-juan-li-gong-lin-216770","孝经图长卷","李公麟的孝经形象在宋代以来的各种作品中被反复提及，而且大多以不止一种形式流传。",[7,209,23,24,25,244,173,106,384,385,175,9193,1641,19168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52813534dd45106294016e482651eab3.jpg",[44],{"id":28382,"slug":28383,"title":28384,"dynasty":76,"author":278,"museum":311,"description":28385,"tags":28386,"thumbUrl":28388,"material":123,"size":139,"collection":139,"collections":28389,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},216716,"hong-lou-meng-fu-tu-ce-2-yi-ming-216716","红楼梦赋图册-2","亭榭隐于蕉荫间，几缕倩影或凭栏凝思，或低语浅笑。衣袂如流云轻覆青石板，罗裙纹样似浸了江南的柔润。案头器物精巧，窗边陈设雅致，恰是红楼闺阁的寻常光景——无需喧哗，只那眼波流转的默契，便将女子们的温婉灵秀凝在笔墨间。园林清幽裹着人情暖意，软语里的细碎心事，随风散入芭蕉叶隙。笔墨清润，色彩雅致，将书中含蓄韵致化作眼前可触的静谧温柔，仿佛能闻见空气中浮动的淡香，窥见那段红楼旧梦的一角，让观者沉湎于这纸间流转的古典情长。",[7,28,27,81,106,59,175,107,34,115,28387,298,27088],"古装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a767b05f29544d7c431926bc0754ea6.jpg",[],{"id":28391,"slug":28392,"title":23737,"dynasty":18,"author":8332,"museum":677,"description":28393,"tags":28394,"thumbUrl":28395,"material":123,"size":23741,"collection":90,"collections":28396,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":49},216666,"ju-yuan-tu-yi-yuan-ji-216666","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[7,209,23,24,25,28,177,173,11064,1423,866,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg",[90],{"id":28398,"slug":28399,"title":28400,"dynasty":99,"author":170,"museum":2958,"description":5097,"tags":28401,"thumbUrl":28402,"material":409,"size":139,"collection":139,"collections":28403,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":94},214921,"mo-hua-ce-6-shen-zhou-214921","墨花册-6",[7,23,173,81,83,2267,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743de8157bbf41abd69a8e9238bbd3b2.jpg",[],{"id":28405,"slug":28406,"title":28407,"dynasty":76,"author":1563,"museum":1098,"description":1564,"tags":28408,"thumbUrl":28409,"material":699,"size":1567,"collection":139,"collections":28410,"showCount":27913,"zanCount":48,"manualWeight":48,"mainColor":49},214358,"san-jue-shan-shui-ce-1-hua-yan-214358","三绝山水册-1",[7,209,23,24,81,27,29,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf1a7ee3b5c0bbe9e26fadd849e0122a.jpg",[],{"id":28412,"slug":28413,"title":28414,"dynasty":76,"author":28415,"museum":206,"description":28416,"tags":28417,"thumbUrl":28418,"material":409,"size":28419,"collection":328,"collections":28420,"showCount":27913,"zanCount":2209,"manualWeight":48,"mainColor":94},214241,"xing-shu-zhong-tang-yao-yuan-zhi-214241","行书中堂","姚元之","通篇布局疏朗有致，字间行气如流泉穿涧，贯通无碍。笔势灵动跌宕，起收转折见筋骨，提按顿挫藏韵味——每一笔皆含温度，浓墨沉雄如岳，淡墨轻逸似云，干湿互渗更添层次。文字与笔墨浑然一体，字态或欹或正、或收或放，顾盼生姿如老友对谈，既有法度严谨的功底，又显随性自然的性情。通篇洋溢从容洒脱之气，观之如沐春风，仿佛能触到书者挥毫时的畅快心境，于动静之间，尽展行书之雅韵。",[7,315,86,178,225,173,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61b81b5a7de70d879a30dae9c5d3a0c.jpg","132.2x62",[328],{"id":28422,"slug":28423,"title":28424,"dynasty":54,"author":28425,"museum":617,"description":28426,"tags":28427,"thumbUrl":28428,"material":624,"size":139,"collection":139,"collections":28429,"showCount":27913,"zanCount":1104,"manualWeight":48,"mainColor":629},214217,"dao-yin-fa-shi-bei-ou-yang-tong-214217","道因法师碑","欧阳通","道因法师碑是一座唐代碑刻，记录了道因法师的生平事迹。据传，道因法师（生卒年不详）是一位著名的佛教高僧，曾在唐朝时期供奉过西天观音菩萨，并在江苏和浙江两省传播佛教。欧阳通是这座碑刻的作者，他是一位著名的唐代文人，擅长写诗和书法。",[7,620,621,86,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324c79e6b251fdf39f9619b4bc733ab2.jpg",[],{"id":28431,"slug":28432,"title":28433,"dynasty":76,"author":21870,"museum":311,"description":28434,"tags":28435,"thumbUrl":28436,"material":2164,"size":2165,"collection":139,"collections":28437,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},290491,"qi-yan-lian-wu-hu-fan-290491","七言联","吴湖帆，江苏苏州人，为吴大澄嗣孙(1894年农历七月初二—1968年8月11日)。初名翼燕，字遹骏，后更名万，字东庄，又名倩，别署丑簃，号倩庵，书画署名湖帆。",[7,23,24,7024,86,178,27,226,20293,84,300,263],"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e":28506,"collection":139,"collections":28507,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[7,209,23,25,27,28,106,107,108,110,117,153,150,86,263,105,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":28509,"slug":28510,"title":28511,"dynasty":76,"author":7940,"museum":311,"description":28512,"tags":28513,"thumbUrl":28514,"material":139,"size":139,"collection":139,"collections":28515,"showCount":184,"zanCount":2209,"manualWeight":48,"mainColor":49},229018,"song-shan-cao-tang-tu-li-zhou-wang-hui-229018","嵩山草堂图立轴","此作以高远、深远之法铺展画面，主峰奇崛巍峨，层岩叠嶂间流泉隐现，尽显山川雄浑苍劲。苍松虬曲盘桓，枝叶繁茂掩映山居草堂，山道萦回穿梭林麓，藏露有度。山脚烟岚轻笼水渚，村居错落生息，晕染出幽寂的林下栖居意趣。\n笔墨糅合南北二宗意趣，干笔皴擦勾勒山石肌理，苔点攒簇皴染，朴拙厚重中不失秀润灵韵，将山野林泉的隐逸雅致与山川壮美联为一体，尽显林泉幽居的清逸意境。",[7,23,24,225,27,177,29,176,34,1365,3341,114,1269,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537957a672adead014ed280a86cc9ac3.jpg",[],{"id":28517,"slug":28518,"title":28519,"dynasty":76,"author":4192,"museum":583,"description":28520,"tags":28521,"thumbUrl":28523,"material":139,"size":139,"collection":139,"collections":28524,"showCount":184,"zanCount":2209,"manualWeight":48,"mainColor":49},229009,"gao-gang-mao-wu-tu-zhou-gong-xian-229009","高岗茅屋图轴","《历代名画宣纸高清大图:龚贤高岗茅屋图》采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图描绘了江南山水，其笔墨劲利而苍厚潮润，苍翠欲滴。\n山石高悬，山随画活；湖水尽白，形成墨白对比，虚实相生。\n《历代名画宣纸高清大图:龚贤高岗茅屋图》由 出版。",[7,23,24,225,173,177,29,28522,770,34,558,865],"山岗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c33871e5f3f8e6492d8428c33b2d3a.jpg",[],{"id":28526,"slug":28527,"title":11447,"dynasty":18,"author":553,"museum":311,"description":28528,"tags":28529,"thumbUrl":28530,"material":139,"size":139,"collection":139,"collections":28531,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},228914,"dai-du-tu-guo-xi-228914","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[7,209,23,24,25,29,177,27,108,109,174,175,34,176,106,1265,1617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":28533,"slug":28534,"title":28535,"dynasty":18,"author":2483,"museum":1098,"description":28536,"tags":28537,"thumbUrl":28538,"material":139,"size":139,"collection":139,"collections":28539,"showCount":184,"zanCount":2209,"manualWeight":48,"mainColor":49},228734,"wang-chuan-bie-shu-tu-juan-zhao-bo-ju-228734","辋川别墅图卷","以石青石绿敷染峰峦，古雅绢底晕开明丽苍润的山水气象。峰峦连绵开合，汀渚回环萦带，山居殿宇错落林泉，平湖轻舟泛波，林木蓊郁点染山野。笔法精细秀雅，青绿设色妍丽沉稳，承唐人青绿的华贵明艳，又融宋人的雅致意境，将林泉高致铺叙成一卷悠远山居长卷，把山水、村居、舟游融为和谐整体，尽显文人寄情丘山的雅逸意趣，是青绿山水里工致兼具写意的佳构。",[7,23,24,25,26,27,29,107,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ab89b8018cc96566364f4966f4c51.jpg",[],{"id":28541,"slug":28542,"title":1024,"dynasty":99,"author":17700,"museum":311,"description":28543,"tags":28544,"thumbUrl":28545,"material":139,"size":139,"collection":139,"collections":28546,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},228365,"xiang-shan-jiu-lao-tu-zhou-chen-228365","《香山九老图》是明代画家 创作的一幅绢本设色画，该画现藏于 。\n名称：香山九老图轴 作者：周臣 年代：明代 周臣，明代中期的著名职业画家。\n他生活在成化至嘉靖年间，生卒年不详。\n字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖14年（即155年）。\n擅长画人物和山水，画法严整工细。\n他有两个学生特别著名，一个唐寅，另一个仇英，唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。\n曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。\n画山石坚凝，章法严谨，用笔纯熟。\n曾与戴进并驱，则互有所长。\n人物画也非常出色，古貌奇姿，绵密萧散，各极意态。\n南京博物院收藏的周臣代表作《柴门送别图》，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。\n周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》、《春泉山隐图》等，济南博物馆收有《访友图》，及台湾、国外大博物馆内也收藏一些作品。\n周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[7,23,24,27,28,177,106,29,1365,34,558,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaa0c43decd43702693cac01a030852.jpg",[],{"id":28548,"slug":28549,"title":28550,"dynasty":99,"author":936,"museum":311,"description":28551,"tags":28552,"thumbUrl":28553,"material":139,"size":139,"collection":139,"collections":28554,"showCount":184,"zanCount":2209,"manualWeight":48,"mainColor":49},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[7,23,24,209,225,27,106,59,866,176,285,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":28556,"slug":28557,"title":28558,"dynasty":18,"author":278,"museum":311,"description":28559,"tags":28560,"thumbUrl":28561,"material":139,"size":139,"collection":139,"collections":28562,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},227832,"cong-ju-tu-ye-yi-ming-227832","丛菊图页","《丛菊图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n鉴藏印钤“□藤仙馆书画”、“云谷”、“□华宝有”，另有一印残。\n图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。\n花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。\n花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。\n画风工致细腻，构图丰满，繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作。",[7,209,23,24,81,28,27,83,407,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5312cc31255d3afb48112f73e8e7a3f.jpg",[],{"id":28564,"slug":28565,"title":28566,"dynasty":18,"author":11061,"museum":311,"description":28567,"tags":28568,"thumbUrl":28569,"material":139,"size":139,"collection":139,"collections":28570,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},227831,"she-xiang-tu-mao-song-227831","麝香图","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[7,209,23,24,1352,28,27,807,808,62,229,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],{"id":28572,"slug":28573,"title":28574,"dynasty":18,"author":418,"museum":311,"description":28575,"tags":28576,"thumbUrl":28577,"material":139,"size":139,"collection":139,"collections":28578,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[7,23,209,24,28,173,27,11064,940,1423,229,284,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":28580,"slug":28581,"title":19716,"dynasty":99,"author":23514,"museum":583,"description":28582,"tags":28583,"thumbUrl":28584,"material":1271,"size":28585,"collection":90,"collections":28586,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},226155,"fu-rong-yuan-yang-tu-zhou-li-yin-226155","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[7,23,209,225,173,83,404,2053,229,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","138.9x47.8cm",[90],{"id":28588,"slug":28589,"title":28590,"dynasty":76,"author":23410,"museum":311,"description":28591,"tags":28592,"thumbUrl":28593,"material":139,"size":139,"collection":139,"collections":28594,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[7,23,24,225,28,173,27,2234,4530,795,926,928,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],{"id":28596,"slug":28597,"title":28598,"dynasty":76,"author":28599,"museum":311,"description":28600,"tags":28601,"thumbUrl":28603,"material":139,"size":139,"collection":139,"collections":28604,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},224474,"yu-zan-hua-wan-shou-ju-yu-sheng-224474","玉簪花万寿菊","余省","此作取景雅致，椭圆画幅将庭隅清趣拢于其中。玉簪花挺然舒展，紫瓣晕染出通透柔润的质感，垂坠的花穗尽显清雅柔婉之态；阔叶墨绿莹润，脉纹精细分明，衬出花枝秀逸。下方万寿菊娇俏点缀，细枝嫩叶灵动雅致，与玉簪花形成疏密错落的层次。\n\n设色温婉柔和，淡赭底色晕开古雅氛围，晕染兼具写实工致与写意韵致。题字落款雅致呼应画意，将花草舒展之态与清隽闲淡的意趣相融，尽显工笔花鸟的秀美细腻，观者仿若亲临小园，静赏幽花盛放的悠然生机。",[7,23,24,28,27,83,5937,28602,1173,2342],"万寿菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750762adee6fd22e6a0e3c0df1eb893a.jpg",[],{"id":28606,"slug":28607,"title":28608,"dynasty":76,"author":7940,"museum":311,"description":28609,"tags":28610,"thumbUrl":28614,"material":139,"size":139,"collection":139,"collections":28615,"showCount":184,"zanCount":2209,"manualWeight":48,"mainColor":49},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[7,28611,27,177,173,28,28612,557,468,3596,1087,34,176,35,37,28613,114,466],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],{"id":28617,"slug":28618,"title":28619,"dynasty":76,"author":3676,"museum":311,"description":28620,"tags":28621,"thumbUrl":28623,"material":139,"size":139,"collection":139,"collections":28624,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},224233,"zhong-kui-wu-chang-shuo-224233","钟馗","此作跳出钟馗惯常的狞厉驱邪范式，以写意之笔勾勒出闲散疏朗的别样风神。淡墨晕染衣袍，寥寥数笔便将宽袍缓带的慵懒姿态写尽，腰间佩剑暗藏威仪，却无肃杀之气。钟馗抬首凝望丝线上的小虫，神情松弛淡然，全然不见捉鬼镇邪的刚猛，更似幽居世外的逸士。\n\n左侧题诗与画意相得益彰，篆籀笔法的题字朴拙雄劲，和简淡的人物形成视觉张力，尽显诗画合璧的文人意趣，将民间俗神化为寄寓闲情逸致的文人心象，笔墨间满是随性自在的雅逸格调。",[7,23,24,27,173,106,2508,178,263,28622],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb6298ff111c592b2ddf649923c616.jpg",[],{"id":28626,"slug":28627,"title":28628,"dynasty":204,"author":278,"museum":311,"description":28629,"tags":28630,"thumbUrl":28631,"material":139,"size":139,"collection":139,"collections":28632,"showCount":184,"zanCount":1337,"manualWeight":48,"mainColor":49},223600,"shen-jun-tu-juan-yi-ming-223600","神骏图卷","画面分野有致，左侧白马踏波驰行，骑手身姿稳练，骏马昂首翘尾，四蹄舒展，神骏勃发之态毕现。右侧林下石台，红衣士人凭坐回望，僧者坦腹怡然对晤，旁侧仆童持毛刷侍立，情态松弛闲适。\n设色古雅沉稳，青绿晕染坡岸，墨线细劲流畅，将人马灵动与林下幽逸相融，把世外雅集的清旷高逸尽显纸面，残卷仍掩不住精工雅致的风韵，尽显六朝清谈雅集的风流意趣。",[7,23,24,25,27,28,106,150,384,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9205dfb3e7d9803703624ce638d146.jpg",[],{"id":28634,"slug":28635,"title":28636,"dynasty":18,"author":278,"museum":20,"description":28637,"tags":28638,"thumbUrl":28640,"material":573,"size":28641,"collection":139,"collections":28642,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[7,209,23,24,81,28,27,178,86,263,136,28639,370,18],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],{"id":28644,"slug":28645,"title":28646,"dynasty":18,"author":10082,"museum":20,"description":28647,"tags":28648,"thumbUrl":28649,"material":28650,"size":28651,"collection":139,"collections":28652,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},223513,"liu-yin-gao-shi-tu-wang-shen-223513","柳荫高士图","北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[7,23,24,27,28,106,1322,866,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe087bce9ee900ca12a83d8169b36bf3.jpg","轴绢本设色","76×46.4厘米",[],{"id":28654,"slug":28655,"title":28656,"dynasty":99,"author":278,"museum":20,"description":28657,"tags":28658,"thumbUrl":28659,"material":67,"size":28660,"collection":139,"collections":28661,"showCount":184,"zanCount":2209,"manualWeight":48,"mainColor":49},223384,"shuang-tu-tu-ye-yi-ming-223384","双兔图页","《双兔图页》是明代佚名创作的绢本设色画。",[7,23,24,1352,28,27,808,2234,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702801541ffb43e86522d41bd3b9e52.jpg","纵114.3厘米 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天水圖書”二印。元至正七年为1347年。画幅上方有元人迺贤题诗数行。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。\n此图经清内府收藏，有嘉庆、宣统诸印。《石渠宝笈·三编》著录。",[7,23,24,225,27,28,106,150,384,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c7470f8757d79778b720a9254a3ab74.jpg","纵109厘米，横46.3厘米",[181,45],{"id":28751,"slug":28752,"title":28753,"dynasty":189,"author":28754,"museum":1406,"description":28755,"tags":28756,"thumbUrl":28757,"material":1691,"size":28758,"collection":163,"collections":28759,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221797,"ji-zhu-you-qin-tu-zhang-yan-fu-221797","棘竹幽禽图","张彦辅","此图绘秀石旁两株修竹交柯而立，棘条屈曲上扬，两双禽鸟栖于棘上。构图疏朗，秀石用笔直皴，以水墨略染，修竹、棘条笔墨清劲，双禽略加色染，意在工鸟之间，画格疏劲清幽。无款识，仅钤“彦辅图书游戏清玩”、“西宇道人”二印。图左有隶书题记“子昭偕周正已过太乙宫，彦辅为作棘竹幽禽图以赠之，时至正癸未三月十七日也，濮人吴孟思书”。可知此图作于至正三年即公元一三四三年，吴孟思即当时名书家吴叡。图中另有杜本、凌翰、鞠菴、邵弘远、雅虎、林泉生、潘纯等人题跋。图中钤有明项元汴，清初梁清标，近人谭敬、张珩等鉴藏印。此图为张彦辅传世的惟一作品。",[7,209,23,24,173,263,226,229,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30574047ecaa25214e6269f083c885cb.jpg","63．8厘米横50．7厘米",[163,1896],{"id":28761,"slug":28762,"title":28763,"dynasty":189,"author":28764,"museum":20,"description":28765,"tags":28766,"thumbUrl":28767,"material":40,"size":22406,"collection":44,"collections":28768,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221766,"ren-ma-tu-zhou-ren-xian-zuo-221766","人马图轴","任贤佐","任贤佐于其父书斋“可诗堂”作此图，当绘于任仁发去世（1327年）之前。图画一着唐朝官服的圉官，拱手持缰，身后立一花马，画风得自家传，用笔细劲，设色简约而轻淡，严谨造型。本幅作者自识“子良于可诗堂作”，钤印“任氏子良”。另钤清“项子京家珍藏”和乾隆帝的印玺等13方。",[7,23,28,27,106,150,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560b087e401581b870cf754e3b9d10ec.jpg",[44,45],{"id":28770,"slug":28771,"title":28772,"dynasty":189,"author":18509,"museum":20,"description":28773,"tags":28774,"thumbUrl":28775,"material":1271,"size":28776,"collection":181,"collections":28777,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[7,23,173,177,225,263,86,178,29,174,109,34,558,37,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[181,163],{"id":28779,"slug":28780,"title":28781,"dynasty":18,"author":5270,"museum":20,"description":21248,"tags":28782,"thumbUrl":28783,"material":160,"size":21251,"collection":328,"collections":28784,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221620,"hou-chi-bi-tu-zhao-gou-shu-fu-juan-quan-juan-ma-he-zhi-221620","后赤壁图赵构书赋卷全卷",[7,23,209,25,24,178,173,177,263,174,109,866,106,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccaebc0284553636c09753513a1edf6.jpg",[328],{"id":28786,"slug":28787,"title":28788,"dynasty":18,"author":1419,"museum":20,"description":28789,"tags":28790,"thumbUrl":28802,"material":160,"size":28803,"collection":139,"collections":28804,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221530,"shui-tu-juan-ma-yuan-221530","水图卷","《水图》共有十二段。除第一段因残缺半幅而无图名外，其余图名分别是：“洞庭风细”、“层波叠浪”、“寒塘清浅”、“长江万顷”、“黄河逆流”、“秋水回波”、“云生沧海”、“湖光潋滟”、“云舒浪卷”、“晓日烘山”、“细浪漂漂”。这十二段作品，专门画水，除个别幅有极少岩岸之外，其它没有任何别的景色，完全通过对水的不同姿态的描写，表现出种种不同的意境。作者对水观察的细致入微，以及创造出来的形态美感和笔墨技能，都令人惊叹不已。如“洞庭风细”，波浪如鳞，不激不怒，近大远小以至于水天一色，彷佛觉得微风习习，轻轻掠过了那开阔的湖面，使人心旷神怡，宠辱皆忘。“层波叠浪”是以颤抖的笔法，描写浪涛的起落，彷佛其下有蛟龙蛰伏。那汹涌澎湃的气势，使人精神振奋而感到豪壮。“湖光潋滟”一幅，画家以轻快流畅的笔法，画出水波的跳动，浪峰无规则的排列，显然受到乱风的吹荡，即使画家不染上红色，也使观者感到阳光明媚，不由得想起“湖光潋滟晴偏好”的杭州西湖景象来。“云舒浪卷”一幅，却又是另外一番境界。画家以凝涩的笔触，画出一个浪头，它彷佛咆哮着要腾空而起，天空中黑云滚动，与水相接，更增加有如冲锋陷阵的气概。画面虽小，而气魄宏大壮观。其它各幅，都各有不同的笔法特点和意境，就留待读者自己体会。",[7,23,25,24,173,27,29,282,435,13663,1079,28791,9575,2279,28792,28793,28794,28795,28796,28797,28798,28799,28800,28801],"沧海","晓日","细浪","叠浪","逆流","回波","潋滟","浪卷","心旷神怡","豪壮","气魄宏大","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608b77553133468e4bb46dc87ada9d69.jpg","纵26.8厘米，横41.6厘米",[],{"id":28806,"slug":28807,"title":28808,"dynasty":18,"author":9978,"museum":311,"description":28809,"tags":28810,"thumbUrl":28811,"material":67,"size":28812,"collection":42,"collections":28813,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221438,"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","趙令穰（生卒年不詳），字大年，北宋汴京（今河南開封）人，畫家。宋太祖趙匡胤五世孫。官至光州防禦使﹑崇信軍觀察留後，卒贈“開府儀同三司”，追封“榮國公”。其孫趙伯駒為宋代著名畫家，官至浙東兵馬鈐轄。趙令穰工畫山水、花果、翎毛，筆致秀麗，尤長金碧山水。遠師李思訓父子。代表作品《風雲期會圖》《春山圖》《阿閣圖》《後赤壁圖 》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[7,23,24,29,27,177,866,266,109,108,1423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[42],{"id":28815,"slug":28816,"title":1462,"dynasty":18,"author":461,"museum":206,"description":4459,"tags":28817,"thumbUrl":28818,"material":67,"size":28819,"collection":139,"collections":28820,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221388,"shan-shui-tu-fan-kuan-221388",[7,23,209,24,29,177,27,734,34,35,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c64cfa9031857b41416378a5e4b8cc.jpg","24.6x25.6",[],{"id":28822,"slug":28823,"title":28824,"dynasty":18,"author":11975,"museum":206,"description":28825,"tags":28826,"thumbUrl":28828,"material":28829,"size":28830,"collection":139,"collections":28831,"showCount":184,"zanCount":2209,"manualWeight":48,"mainColor":49},221241,"song-ke-xiu-kai-tai-tu-zhou-song-ren-221241","宋缂绣开泰图轴","南宋踏踏歌行图轴为宋人缂丝作品仲裁取的一部分，能独立成篇。\n构缂、平缂交替使用。\n远处云气流动，近处山石野草情趣盎然。\n人物造型准确生动，手持击板，嘴中吟唱，轻踏脚步，逍遥自在。",[7,28827,225,27,28,106,150,6545,1712,29,245,31,34,84,176],"缂绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401a0692f0ab7135bf602629e7f6c91.jpg","织绣","349x95.8",[],{"id":28833,"slug":28834,"title":6281,"dynasty":54,"author":6381,"museum":206,"description":28835,"tags":28836,"thumbUrl":28838,"material":712,"size":28839,"collection":181,"collections":28840,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221094,"ming-huang-xing-shu-tu-li-zhao-dao-221094","作品描绘人马行走于崇山峻岭间。画上有乾隆三十九年（1774）的御题诗：青绿关山迥，崎岖道路长。客人各结束，行李自周详。总为名和利，那辞劳与忙。年陈失姓氏，北宋近乎惠”。《明皇幸蜀图》体现了二李画派的典型风格，时代特征明显，是反映唐代山水画面貌的重要传世作品。",[7,23,29,734,282,384,2279,27,28,28837,67],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a04cfa4068831cfeaed0b412c23431.jpg","纵55.9厘米，横81厘米",[181,45],{"id":28842,"slug":28843,"title":28844,"dynasty":1483,"author":28845,"museum":206,"description":28846,"tags":28847,"thumbUrl":28848,"material":27,"size":28849,"collection":181,"collections":28850,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221013,"yun-tai-shan-tu-xun-xu-221013","云台山图","旬勗","荀勖（xù）（？～289年），字公曾。颍川颍阴（今河南省许昌市）人。三国至西晋时音律学家、文学家、藏书家，西晋开国功臣。为东汉司空荀爽曾孙。\n荀勖少年时聪慧好学。初仕于魏，为大将军曹爽掾属，后迁中书通事郎。曹爽被诛后，历任安阳令、骠骑从事中郎、廷尉正等职。又任大将军司马昭记室，屡进策谋，深见信任，与裴秀、羊祜共掌机密。西晋建立后，封济北郡侯。后拜中书监兼侍中，领著作。累官至光禄大夫、仪同三司、守尚书令。在尚书台时，核罢省中不称职之人。\n太康十年（289年），荀勖去世。获赠司徒，谥号为成。\n荀勖善于逢迎，被时人比作倾覆国家、搅乱时局的贰臣。但他为人谨慎，每有参预的国家大政，都闭口不言，不愿让别人知道他参与其中。荀勖博学多才，曾与贾充一起修订法令；掌管乐事时，又修正律吕；领秘书监时，曾与张华一同按刘向《别录》整理典籍。有文集三卷，今已佚。",[7,23,24,29,27,177,109,107,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda584db27dc18d7eff1e357a5a49a9e.jpg","73.4x98.6厘米",[181,45],{"id":28852,"slug":28853,"title":28854,"dynasty":99,"author":2494,"museum":20,"description":28855,"tags":28856,"thumbUrl":28857,"material":40,"size":28858,"collection":181,"collections":28859,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 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主要作品有《张季明帖》《李太师帖》《紫金研帖》《淡墨秋山诗帖》等。\n米芾所书《蜀素帖》，亦称《拟古诗帖》，是天下第八行书，被后人誉为中华第一美帖",[7,86,620,178,622,29,266,13401,29087,29088,29089,29090,29091,29092,29093,29094],"殿宇","烟岚","苍松","林径","野岭","宫阙","晴雨","龙宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16030e95c6e55de3a713fc2e76a24cc.jpg",[],{"id":29098,"slug":29099,"title":29100,"dynasty":76,"author":336,"museum":311,"description":29101,"tags":29102,"thumbUrl":29103,"material":139,"size":139,"collection":139,"collections":29104,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},230208,"xin-xie-zhi-ping-tu-qian-long-di-hou-fei-pin-tu-juan-lang-shi-ning-230208","心写治平图（乾隆帝后妃嫔图卷）","整卷以右至左排布人物，糅合西洋写实晕染与东方工笔雅致，将帝后妃嫔的面容刻画得精细入微，明暗起伏间尽显温婉端凝的皇家仪态。\n服饰纹样繁复考究，缂丝龙纹行云流转，貂皮立领柔润逼真，金线朱色点缀间尽显清宫礼制的华贵威仪。旁侧小字标注身份，朱红印章错落点缀，让画作兼具纪实性与艺术性。\n静穆典雅的画面中藏着清代宫廷的仪制尊荣，是中西绘法融合的经典肖像佳作，将帝后群像的雍容气度凝固于绢本之上。",[7,23,209,25,28,27,106,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a89e21b664b7586cc2499e512566ef0.jpg",[],{"id":29106,"slug":29107,"title":15370,"dynasty":99,"author":2146,"museum":311,"description":29108,"tags":29109,"thumbUrl":29110,"material":139,"size":139,"collection":139,"collections":29111,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},228478,"wang-shu-gong-ji-tu-tang-yin-228478","画作以柔丽工笔重彩绘就四位宫妓，她们头戴花冠，两两相对，或拈花簪鬓，或对镜理容，眉眼含柔，尽显娇婉慵闲之态。衣纹勾勒细劲流畅，敷色妍雅鲜亮，将蜀地宫娥的柔媚风韵晕染尽致。\n\n画幅题诗暗合前蜀宫闱旧事，在仕女的绮艳描摹之中，暗寓对耽于宴乐的讽喻，将精工的视觉美感与文人的寄兴藏于一体，于柔丽雅致间藏着沉敛的讽世之思，是仕女画中兼擅审美意趣与文心寄寓的经典之作。",[7,209,23,24,225,27,106,59,63,64,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2530c75a1f39e5bab12ffc2dd7b41be1.jpg",[],{"id":29113,"slug":29114,"title":29115,"dynasty":99,"author":2146,"museum":311,"description":29116,"tags":29117,"thumbUrl":29118,"material":139,"size":139,"collection":139,"collections":29119,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[7,209,23,24,25,173,27,1218,177,86,178,263,29,384,35,106,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":29121,"slug":29122,"title":29123,"dynasty":99,"author":29124,"museum":206,"description":29125,"tags":29126,"thumbUrl":29127,"material":139,"size":139,"collection":139,"collections":29128,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},228319,"san-you-si-xi-tu-bian-jing-zhao-228319","三友四喜图","边景昭","此作用全景铺陈开卷，松挺竹劲梅娇，聚成岁寒三友之姿，群雀翔集枝梢，啾唧喧闹间衬出林野生机。四只喜鹊或栖或飞，墨白羽色鲜亮醒目，于群鸟中格外灵动。\n\n画师落笔精工写实，禽鸟翎毛细密柔润，根根分明；松竹梅的枝干皴擦细致，苍秀兼具。整幅画面动静交织，既见院体花鸟的细腻工致，又借三友暗喻君子风骨，以喜鹊托举祥瑞吉意，将雅致品格与喜庆意蕴融于一卷。",[7,23,28,27,83,266,226,402,403,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9c628ba03bd30ead976aed52184f75.jpg",[],{"id":29130,"slug":29131,"title":29132,"dynasty":189,"author":278,"museum":311,"description":29133,"tags":29134,"thumbUrl":29135,"material":139,"size":139,"collection":139,"collections":29136,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},228215,"you-xing-shi-nv-tu-yi-ming-228215","游行仕女图","古绢底色晕染岁月沉浑，雄健湖石倚立，芭蕉阔叶舒展如伞，猩红花穗挺立于叶隙，墨色浓淡晕开草木蓬勃生机。仕女衣袂轻扬雅致，或垂眸敛容，或侧身顾盼，柔缓徐行间尽显端静含蓄的仪态。画作以大石丛蕉衬出仕女窈窕娟秀，上下分景疏密相宜，设色古淡沉静，笔致简净含蓄，藏雅致余韵，将庭院闲游的松弛意趣，融在古朴沉静的画境之内，淡墨轻彩晕开旧时光里的闺中清致。",[7,23,24,225,28,27,106,59,176,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb2be621dcd64401a64de5a6e7d8444.jpg",[],{"id":29138,"slug":29139,"title":29140,"dynasty":189,"author":645,"museum":311,"description":29141,"tags":29142,"thumbUrl":29143,"material":139,"size":139,"collection":139,"collections":29144,"showCount":29051,"zanCount":1337,"manualWeight":48,"mainColor":629},228167,"guan-gong-wu-shi-san-sui-yi-xiang-zhao-meng-fu-228167","关公五十三岁遗像","画面里关公踞坐案前，轻捋美髯凝视卷册，案上烛台、典籍错落，沉静间自有武圣威严。身旁武士戎装侍立，身姿恭谨，衬得主位人物气度沉凝。\n\n衣纹线条凝练劲挺，设色苍雅古拙，将关公的儒雅斯文与武将的豪壮气度相融，尽显其忠义千秋的风骨。题字古意盎然，补足人物生平意蕴，整体笔墨带着特有的简淡苍劲，把武圣的精神气韵刻画入微，是形神兼备的经典人物佳作。",[7,23,24,27,28,106,436,300,1115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3321d64766a7b4f4db359c8e366a00b.jpg",[],{"id":29146,"slug":29147,"title":29148,"dynasty":18,"author":1395,"museum":311,"description":29149,"tags":29150,"thumbUrl":29151,"material":139,"size":139,"collection":139,"collections":29152,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":49},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[7,23,24,25,28,27,106,150,384,176,1422,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":29154,"slug":29155,"title":29156,"dynasty":18,"author":1419,"museum":311,"description":29157,"tags":29158,"thumbUrl":29159,"material":139,"size":139,"collection":139,"collections":29160,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":49},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[7,23,24,25,28,177,106,34,108,109,176,114,150,174,1640,1365,865,31,3981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":29162,"slug":29163,"title":7402,"dynasty":18,"author":708,"museum":311,"description":29164,"tags":29165,"thumbUrl":29167,"material":139,"size":139,"collection":139,"collections":29168,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},227747,"dong-ting-qiu-yue-tu-xia-gui-227747","《洞庭秋月图》是宋代画家夏圭创作的绢本水墨画，现藏于美国弗利尔美术馆。\n\n《洞庭秋月图》描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[7,23,24,209,225,173,177,29,285,866,229,2310,29166],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":29170,"slug":29171,"title":29172,"dynasty":18,"author":2483,"museum":311,"description":29173,"tags":29174,"thumbUrl":29175,"material":139,"size":139,"collection":139,"collections":29176,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":49},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[7,24,23,209,25,26,27,28,177,86,263,29,106,107,108,109,174,175,229,228,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":29178,"slug":29179,"title":8190,"dynasty":18,"author":8191,"museum":311,"description":29180,"tags":29181,"thumbUrl":29182,"material":139,"size":139,"collection":139,"collections":29183,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},227691,"wen-ji-gui-han-tu-chen-ju-zhong-227691","故宫收藏的这幅《文姬归汉》，并没有作者的签名或者印记，旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[7,23,209,25,28,27,106,150,263,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b0b01bd2a87126fc14abc0b1bfe988.jpg",[],{"id":29185,"slug":29186,"title":29187,"dynasty":54,"author":6381,"museum":311,"description":29188,"tags":29189,"thumbUrl":29190,"material":139,"size":139,"collection":139,"collections":29191,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},227255,"xian-shan-lou-guan-tu-li-zhao-dao-227255","仙山楼观图","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。",[7,23,25,26,27,104,28,29,107,34,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81db047a39ded106ecbb49adcb1c8b56.jpg",[],{"id":29193,"slug":29194,"title":29195,"dynasty":76,"author":7940,"museum":311,"description":29196,"tags":29197,"thumbUrl":29198,"material":2164,"size":2165,"collection":139,"collections":29199,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[7,23,24,1352,173,177,29,175,866,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":29201,"slug":29202,"title":29203,"dynasty":76,"author":2924,"museum":311,"description":29204,"tags":29205,"thumbUrl":29206,"material":139,"size":139,"collection":139,"collections":29207,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},224371,"hua-hui-qi-shi-ce-shi-er-kai-11-ju-lian-224371","花卉奇石册-十二开-11","此作以淡墨晕染奇石，皴擦间尽显朴拙质感，留白透气，清润雅致。红草以没骨法点染，色泽明丽却不俗艳，叶片舒展柔态毕现；蓝黄雏菊娇俏鲜活，枝蔓穿插错落，野趣自生。石上蜻蜓纤毫细致，翼脉清晰可见，悄然驻足为画面添灵动生机。\n整体兼工带写，将草木清隽与顽石朴拙相融，静中生趣。画面简淡空灵，把秋日小景的闲逸意蕴铺陈开来，笔底藏着雅致的审美意趣，于方寸间尽显自然小景的幽恬清宁，带着悠然静穆的中式美学韵味。",[7,23,81,27,28,263,229,84,407,266,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c03336a008070491717018219acd353.jpg",[],{"id":29209,"slug":29210,"title":18845,"dynasty":76,"author":29211,"museum":311,"description":29212,"tags":29213,"thumbUrl":29214,"material":2164,"size":2165,"collection":139,"collections":29215,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},224284,"xin-jing-fu-shan-224284","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[7,76,24,86,5152,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207038e9219276266d8b1302b8b30770.jpg",[],{"id":29217,"slug":29218,"title":25271,"dynasty":76,"author":17442,"museum":311,"description":29219,"tags":29220,"thumbUrl":29221,"material":139,"size":139,"collection":139,"collections":29222,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},223691,"xie-qin-fang-you-tu-shang-rui-223691","，画作，清代上睿作。\n画心纵28.1厘米，横17.厘米。\n纸本，设色。\n画中一位有琴童跟随的琴家，已离开自己的住舍，走上木桥，正在向闲卧在梧竹幽居中的知音友人那里进发。\n全图景物按排聚散合度，虚实相生。\n以极其纤美的笔触对环境进行铺垫描绘，收到了烘托人物的活动和突出主题的良好效果。\n款署“癸酉小春用文太史笔意为友桐先生补图。\n蒲室子睿。\n”钤“目存”印。\n清宫宝玺有“乾隆鉴赏”、“嘉庆御览之宝”、“宣统御览之宝”等。\n曾经清内府庋藏。\n《秘殿珠林石渠宝笈续编》著录。\n旅顺博物馆收藏。",[7,23,24,25,27,28,29,106,108,109,34,770,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bca0e59957d14b3aa934eb38c7e22eb.jpg",[],{"id":29224,"slug":29225,"title":29226,"dynasty":76,"author":278,"museum":101,"description":29227,"tags":29228,"thumbUrl":29229,"material":699,"size":29230,"collection":139,"collections":29231,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},223579,"yu-lan-kong-que-tu-yi-ming-223579","玉兰孔雀图","两只彩绘蓝羽孔雀，其中三只比湖石还多，宽大的尾巴在湖中显得更加美丽动人，有一点点蓝色像宝石一样立在上面，另一只藏在边石里 兰花，只有头； 浅玉晶莹剔透，争奇斗艳。 风格：甲午春日、法式铁桥笔、南苹果神拳。",[7,23,28,27,83,297,371,369,283,926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e016bbc82fb27fdb86c5d508ffaae3.jpg","34.98X60",[],{"id":29233,"slug":29234,"title":29235,"dynasty":99,"author":278,"museum":101,"description":29236,"tags":29237,"thumbUrl":29238,"material":139,"size":29239,"collection":139,"collections":29240,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},223531,"mu-zi-lu-tu-yi-ming-223531","母子鹿图","此作设色古雅沉静，笔致工细柔和。坡岸之上，鹿抬首凝神，目光追随着翩跹彩蝶，周身斑点晕染匀净柔和，皮毛质感细腻宛然。苍松虬劲，针丛细密苍润，怪石皴刻朴拙古厚，衬出林间清寂之气。远景淡墨晕染出水泽远山，朦胧空濛将意境拉伸，方寸画幅饱含山野林泉的悠然意趣。兼具院体画的精工，又带着文人水墨的淡远意境，定格幽林闲静一刻，尽显山野生灵与林泉共生的悠然禅意。",[7,23,24,27,28,808,4778,226,385,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a708feb39d0df19f091d6ff9e9da8cc.jpg","24.1x26",[],{"id":29242,"slug":29243,"title":29244,"dynasty":18,"author":278,"museum":206,"description":29245,"tags":29246,"thumbUrl":29247,"material":712,"size":29248,"collection":42,"collections":29249,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},223418,"zi-mu-ji-tu-yi-ming-223418","子母鸡图","此图绘一只母鸡引领着几只孵出不久的小鸡，在地上漫步啄食。母鸡雪白的羽毛蓬松亮丽，目光中充满着慈爱，小鸡则稚嫩怯弱，依偎在母亲的羽翼保护下。母鸡俯身与宝宝们对话，神情爱怜。此画虽无陪衬，却能以情动人。作品在技法处理上，母鸡以勾线、施毛渲染，而小鸡则以施毛勾出轮廓，全以渲染，两者对比，更显小鸡稚嫩，母鸡慈爱。更精妙的是作者在对母鸡眼睛的处理上，把留白的位置留在眼珠的最前面，使其俯身之姿更加强烈",[7,209,23,24,28,27,83,2801,19375,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d3bda73641850315ec173a9cfe7fc6.jpg","纵59.99cm 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"collections":29335,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},221376,"yan-jiang-die-zhang-tu-wang-shen-221376","烟江叠嶂图","《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[7,209,23,24,25,29,173,27,177,29332,3019,30,34,37],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":29337,"slug":29338,"title":29339,"dynasty":18,"author":746,"museum":206,"description":29340,"tags":29341,"thumbUrl":29342,"material":699,"size":29343,"collection":328,"collections":29344,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},221306,"song-si-jia-tao-sheng-qie-zhong-hua-qi-xun-ren-du-hai-su-shi-221306","宋四家:陶生,惬中,花气熏人,渡海","《花气薰人帖》是中国宋代书法家黄庭坚的小品之作，一首二十八个字的小诗，以随意自在的笔法写来，把平日严谨的中锋线和草书中的宛转结合起来，构成一幅完美的小品，是欣赏书法不可多得的佳作。帖上有南宋「缉熙殿宝」的印，入过南宋内府。也有清代朝鲜人安仪周的收藏印安歧是当时最著名的大收藏家。此帖现藏台北故宫博物院。",[7,86,24,25,178,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dcca8709989e4feb06bb6f1620632e.jpg","30.7×43.2cm",[328],{"id":29346,"slug":29347,"title":29348,"dynasty":204,"author":14070,"museum":20,"description":14071,"tags":29349,"thumbUrl":29351,"material":14074,"size":14075,"collection":139,"collections":29352,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},221171,"jia-nuo-jia-fa-cuo-zun-zhe-tang-ka-bu-ben-guan-xiu-221171","迦诺迦伐磋尊者（唐卡布本）",[7,23,27,28,243,106,136,29350,65],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9039551bd38106ac8fa4580e345112.jpg",[],{"id":29354,"slug":29355,"title":29356,"dynasty":99,"author":2494,"museum":206,"description":29357,"tags":29358,"thumbUrl":29359,"material":699,"size":29360,"collection":328,"collections":29361,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},220927,"zhou-zi-tong-shu-dong-qi-chang-220927","周子通书","此作书写的是北宋大儒周敦颐所著《通书》中的内容：“圣可学乎？曰可。有要乎？曰有要。一为要。一者，无欲也。无欲则静虚动直。静虚则明，动直则公。明则通，公则溥。庶矣乎！”董书之内容与周敦颐之原文有出入",[7,86,178,173,24,23,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49525064acaf73341e131973f30c9278.jpg","纵189.4厘米，横154.5厘米",[328],{"id":29363,"slug":29364,"title":25233,"dynasty":99,"author":2494,"museum":222,"description":25234,"tags":29365,"thumbUrl":29366,"material":1271,"size":25237,"collection":181,"collections":29367,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[7,23,24,25,173,105,177,86,263,29,30,34,109,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[181,45],{"id":29369,"slug":29370,"title":29371,"dynasty":189,"author":645,"museum":583,"description":29372,"tags":29373,"thumbUrl":29374,"material":29375,"size":29376,"collection":328,"collections":29377,"showCount":29051,"zanCount":1314,"manualWeight":48,"mainColor":49},220893,"gao-shang-da-dong-yu-jing-zhao-meng-fu-220893","高上大洞玉经","趙孟頫的作品為歷代書家所重，其小楷書風主要得益於二王、鍾繇以及東晉道士楊羲。元代書法家鮮于樞在趙孟頫《過秦論》卷後跋云：“子昂篆、隸、正、行、顛草 俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 “精勁渾厚，字字珠璣，全卷洋洋灑灑小楷數千言，而首尾精力充沛，似一氣呵成，著實驚人。”誠是一件傳世精品之作。",[7,86,5152,25,621,173,243,263,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4003d5f3f30ddffa391ebf4005d664bb.jpg","纸本,墨迹","縱29.7釐米，橫457釐米",[328],{"id":29379,"slug":29380,"title":29381,"dynasty":99,"author":29382,"museum":5803,"description":29383,"tags":29384,"thumbUrl":29385,"material":327,"size":29386,"collection":163,"collections":29387,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[7,23,24,225,173,27,402,285,263,86,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[163,90],{"id":29389,"slug":29390,"title":29391,"dynasty":76,"author":29392,"museum":311,"description":29393,"tags":29394,"thumbUrl":29395,"material":699,"size":139,"collection":90,"collections":29396,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},220249,"die-lian-hua-tu-zhou-xian-220249","蝶恋花图","周闲","周闲（1820年—1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人，晚清著名词人、篆刻家、海上画派名家。\n严迪昌《清词史》称周闲足与鸦片战争时期诗史型诗人贝青乔并驾齐驱。咸丰三年，佐戎幕剿灭嘉定小刀会，以功赐六品官。同治三年，官新阳令、候补知州同知。同治五年，因事与大吏龃龉，遭革职，隐居吴市，假笔墨以自娱。晚年寓居上海。\n善画花卉蔬果，远师陈淳、恽寿平、李鱓，近参任熊，笔致雄浑秀腴。《嘉兴府志》称：“其画浓部密致，似宋人”。与任熊、姚燮、胡公寿为艺文挚友，同蒋春霖、任薰、任颐、吴大徵、吴昌硕、张之万等交游密切。善篆刻，富金石派学养。喜用行楷，气韵朴厚。作品有《任处士传》、《范湖草堂词》等。见《海上墨林》、《广印人传》、《清画家诗史》、《金石家书画集》、吴大澂《愙斋日记》、人民文学出版社《近代词史》。",[7,23,24,27,83,406,512,229,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb731c7098f88507a9128e18726ce4.jpg",[90],{"id":29398,"slug":29399,"title":29400,"dynasty":76,"author":16577,"museum":20,"description":29401,"tags":29402,"thumbUrl":29403,"material":88,"size":29404,"collection":181,"collections":29405,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[7,23,24,29,2019,865,35,469,109,1265,175,173,27,177,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[181],{"id":29407,"slug":29408,"title":29409,"dynasty":99,"author":1150,"museum":20,"description":29410,"tags":29411,"thumbUrl":29412,"material":699,"size":29413,"collection":45,"collections":29414,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[7,23,225,27,866,106,29,229,1265,1422,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[45],{"id":29416,"slug":29417,"title":29418,"dynasty":189,"author":4438,"museum":447,"description":29419,"tags":29420,"thumbUrl":29421,"material":123,"size":139,"collection":181,"collections":29422,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},219779,"shan-zhong-guan-shu-tu-er-sheng-mao-219779","山中观书图(二)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[7,23,24,225,27,29,106,384,4272,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[181],{"id":29424,"slug":29425,"title":28646,"dynasty":18,"author":278,"museum":206,"description":29426,"tags":29427,"thumbUrl":29428,"material":123,"size":29429,"collection":42,"collections":29430,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},219693,"liu-yin-gao-shi-tu-yi-ming-219693","这幅画论布局，论笔法、设色，均臻上乘。画中人物之猜测为谁﹖其理由是以前景中的柳树，以应陶渊明是「五柳先生」，再加以头上的巾子足以漉酒，渊明正是好酒之人。本幅从服饰及坐具、酒具，显然是画晋人，而无唐以后风俗。陶渊明出现的形象，基本上是一位「高士」，然而这个高士大致有两种面貌，一种是悠游山林的隐者，一种是醺醺醉矣的酒客。柳阴高士可能是现存画陶渊明醉醺醺的最早一幅画了。画中树下一翁，席以豹皮，前置一手卷、一盏酒，老翁袒胸赤足，头戴葛巾，双目凝神下视，实已醺醺然微醉矣。渊明坐前双脚处，席上置有盛酒之碗，酒盛九分满，沿上犹挂著一把勺子，碗与勺皆是外壁黑，内面朱，且其质薄，看来是漆器一类而非陶器。，从器皿及服饰的发展，画中人物是非唐而为晋。\n柳荫下，一位士人袒胸露背，跣足而坐于豹皮之上，潇洒超脱，充满雅逸逍遥之趣。士人两眼有醺醺然之貌，故幅上乾隆题诗称这位高士不是唐的李白，就是晋的陶潜。由于陶潜曾作＜五柳先生传＞以自况，故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[7,23,24,225,27,28,177,106,1322,866,211,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[42,44],{"id":29432,"slug":29433,"title":29434,"dynasty":18,"author":278,"museum":206,"description":29435,"tags":29436,"thumbUrl":29438,"material":123,"size":29439,"collection":42,"collections":29440,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},219233,"qiu-tang-fu-yan-tu-yi-ming-219233","秋塘凫雁图","松枝如墨笔皴染，苍劲枝干斜倚塘边，松针细密如丝，织着秋的清寒。几只凫雁散落在岸石上：有的敛翅蜷身，似枕着午后秋光小憩；有的侧颈理羽，绒羽软意与石面凉硬相映成趣。塘水静如镜，淡褐水面漾着若有若无的烟霭，把远天晕成朦胧色块，连风都放缓了脚步。\n\n笔墨简淡却藏极致细腻：每根松针带秋的劲挺，每片羽翎裹塘边静气，连岸石纹理都浸着湿润凉意。这方圆景里，秋意非萧瑟，而是生灵与自然的温柔相拥——宋人把对天地万物的深情，凝在一笔一划、一禽一木的静谧中，让千年后的我们，仍能触到那份清旷与安然。",[7,209,23,27,28,1352,29437,34,4208,282,283,5535],"凫雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512ca8a7e13d31ef689e673f06c54768.jpg","24.8x25.2cm",[42,90],{"id":29442,"slug":29443,"title":29444,"dynasty":76,"author":29445,"museum":132,"description":29446,"tags":29447,"thumbUrl":29453,"material":123,"size":29454,"collection":90,"collections":29455,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":49},218957,"xue-jing-lu-yan-tu-dou-chi-dao-ren-218957","雪景芦雁图","都痴道人","寒江雪岸，双雁栖于坡间。一雁昂首引颈，似望垂枝冰棱；一雁敛翅低首，若思冬日闲情。岸边枯草丛生，竹枝覆雪，柳丝悬冰，凝住凛冬气息。雁羽勾勒细腻，墨色浓淡相衬，绒羽质感毕现；雪地以淡墨晕染，留白见意，坡岸起伏自然。冰棱线条劲挺，柳枝疏朗，与双雁的生动形成呼应。画面虽寒，双雁相依却含暖意，于萧瑟中藏生机。笔墨兼具工致与写意，工笔绘雁之形神，写意写雪之空灵，意境清寂而不失温情，尽显冬日禽鸟之态与自然之趣。",[7,23,24,3567,173,28,400,2019,3898,29448,29449,4817,29450,29451,20284,29452,19466],"枯柳","冰棱","枯草","雪坡","温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d6f5402bf65e673703469de4723fd.jpg","135x74cm",[90],{"id":29457,"slug":29458,"title":29459,"dynasty":18,"author":10082,"museum":206,"description":29460,"tags":29461,"thumbUrl":29462,"material":123,"size":29463,"collection":42,"collections":29464,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},218951,"jie-ge-yi-chun-tu-wang-shen-218951","杰阁媐春图","这幅画描绘了一栋山坡建筑的一个角落，楼上有两个女人在看围栏，而一个女人在下层的走廊上走着，后面跟着一个女仆。身材高大而修长。担架的使用和树木、山石的笔法与《景德镇四库全书》相似，疑为北宋作品，无题款，原署名王僧杰伊春。",[7,23,209,81,104,27,29,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0c7f409af54da8ac9c4eeee02c02cd.jpg","22.5x21.7",[42],{"id":29466,"slug":29467,"title":29468,"dynasty":18,"author":278,"museum":206,"description":29469,"tags":29470,"thumbUrl":29471,"material":123,"size":29472,"collection":42,"collections":29473,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},218858,"lian-tang-shui-fu-tu-yi-ming-218858","莲塘睡凫图","画家不仅将鸭子讨人喜欢的柔美外表表现得淋漓尽致，还将鸭子的毛绒质感表现得淋漓尽致。",[7,23,209,24,81,83,28,136,925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad944b5f7cf79d9baa44a2f50701f1b1.jpg","21.2x23.4",[42,45],{"id":29475,"slug":29476,"title":29477,"dynasty":18,"author":278,"museum":206,"description":29478,"tags":29479,"thumbUrl":29480,"material":67,"size":139,"collection":328,"collections":29481,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},218712,"za-shi-tie-yi-ming-218712","杂诗帖","绢本素笺泛着岁月的暖黄，墨色沉敛如漆，行笔间藏着宋人的疏朗意趣。笔画时而轻若游丝，时而重若坠石，牵丝映带处似有春风拂过纸页，随性却不失章法。诗句里的江山清晖、岁月流转，与笔墨的简淡相映，读来竟觉纸间有清风吹出。朱红钤印如晨星落纸，与沉墨、暖绢相映成趣，更添古雅。这帧手札无刻意雕琢，却在日常书写中流露出宋人审美底色——平淡天真，余味悠长。仿佛执笔人临窗挥毫的呼吸仍在字间，每一笔都是时光痕迹，静静诉说千年前文人情思。",[7,18,178,86,24,81,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01222659e4ef1f33f027553818ee7200.jpg",[328],{"id":29483,"slug":29484,"title":29485,"dynasty":18,"author":29486,"museum":206,"description":29487,"tags":29488,"thumbUrl":29489,"material":409,"size":29490,"collection":181,"collections":29491,"showCount":29051,"zanCount":1337,"manualWeight":48,"mainColor":94},218644,"yan-yu-tu-huang-qi-218644","烟雨图","黄齐","这幅画是一个小溪和山的场景，安静而遥远，全部来自写生。黄齐不知道是哪一代人或哪一个地方的人，但这幅画中的笔法几乎是元代的山水风格。",[7,23,24,173,177,29,34,37,176,109,17312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeda478f2951b201e64af557bf02a0f7.jpg","28.9x52cm",[181],{"id":29493,"slug":29494,"title":29495,"dynasty":99,"author":10349,"museum":447,"description":29496,"tags":29497,"thumbUrl":29498,"material":327,"size":29499,"collection":44,"collections":29500,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":49},218514,"yu-fu-tu-wu-wei-218514","渔夫图","该图描绘了一个渔夫在溪边的老柳树下捕捉一条新鲜的鱼。人物造型细致，渔夫捕鱼的喜悦之情刻画得淋漓尽致，山水、服饰用笔浑厚，面部和手脚用笔精细，是吴伟人物的典型特征。",[7,23,24,225,173,106,866,928,229,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e15e29ad6e911cc0f9de6f8bd082ea.jpg","195.8x102",[44],{"id":29502,"slug":29503,"title":29504,"dynasty":18,"author":278,"museum":6182,"description":29505,"tags":29506,"thumbUrl":29507,"material":123,"size":29508,"collection":44,"collections":29509,"showCount":29051,"zanCount":1337,"manualWeight":48,"mainColor":49},218483,"sui-yang-wu-lao-tu-du-yan-xiang-yi-ming-218483","睢阳五老图 杜衍像","杜衍是继唐朝名臣杜佑之后的北宋名臣，精通诗词和书法。",[7,23,28,27,106,225,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc8d554101f924583694f0001ec727a.jpg","40.3x31.4",[44],{"id":29511,"slug":29512,"title":29513,"dynasty":76,"author":278,"museum":311,"description":29514,"tags":29515,"thumbUrl":29516,"material":409,"size":139,"collection":44,"collections":29517,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},218453,"di-wang-ming-chen-xiang-zhi-wang-xi-zhi-yi-ming-218453","帝王名臣像之王羲之","墨线勾勒的衣袂如行云流转，宽博的袍服衬出人物清雅风骨。长髯垂胸，目光沉静似藏砚池烟霞，巾帽下的面容温润儒雅，尽得书圣旷达之态。左侧题跋笔力苍劲，与肖像相映成趣，文墨间流淌着人物轶事，添了古朴意韵。墨色浓淡相宜，衣纹转折见笔锋，工笔与写意相融，将王羲之的文人灵韵凝于尺幅。整幅画气韵生动，笔墨含情，似能窥见这位书法大家挥毫时的风采，是传统人物肖像中颇具韵味的佳作。",[7,23,24,81,244,173,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad2ca69093f4ab3dd5c940ec366ecaa.jpg",[44],{"id":29519,"slug":29520,"title":29521,"dynasty":76,"author":582,"museum":447,"description":4491,"tags":29522,"thumbUrl":29523,"material":123,"size":4494,"collection":139,"collections":29524,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},218326,"shen-xian-gu-shi-tu-ce-10-leng-mei-218326","神仙故事图册-10",[7,209,23,24,81,28,27,106,176,37,63,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59c4eabdad812463812ac127f8c66.jpg",[],{"id":29526,"slug":29527,"title":29528,"dynasty":189,"author":18509,"museum":132,"description":29529,"tags":29530,"thumbUrl":29531,"material":409,"size":29532,"collection":181,"collections":29533,"showCount":29051,"zanCount":2209,"manualWeight":48,"mainColor":94},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[7,209,23,24,25,173,29,177,263,178,557,37,34,1087,468,1265,11241,1266,38,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[181],{"id":29535,"slug":29536,"title":29537,"dynasty":76,"author":29538,"museum":132,"description":29539,"tags":29540,"thumbUrl":29541,"material":88,"size":29542,"collection":181,"collections":29543,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[7,23,24,225,173,177,29,734,175,108,109,174,34,35,37,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[181],{"id":29545,"slug":29546,"title":29547,"dynasty":76,"author":29548,"museum":206,"description":29549,"tags":29550,"thumbUrl":29551,"material":409,"size":29552,"collection":328,"collections":29553,"showCount":29051,"zanCount":48,"manualWeight":48,"mainColor":94},214312,"min-xian-mo-bao-lin-ze-xu-214312","闽贤墨宝","林则徐","此卷将圣人林则徐、严复、郭尚贤的笔墨集于一卷",[7,76,86,178,225,1352,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c2bbac2a035f9020459ada7d9b6c2a.jpg","29.1x31.1",[328],{"id":29555,"slug":29556,"title":29557,"dynasty":18,"author":2039,"museum":311,"description":29558,"tags":29559,"thumbUrl":29560,"material":2164,"size":2165,"collection":139,"collections":29561,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},289331,"xi-shan-shui-ge-tu-li-song-289331","溪山水阁图","此幅绘溪水寒林，峭壁危岩，远山空蒙，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[7,209,23,1352,173,29,107,108,865,1265,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a877faf9267ef285cfa4fa0ac8188a.jpg",[],43,{"id":29564,"slug":29565,"title":29566,"dynasty":18,"author":5793,"museum":311,"description":29567,"tags":29568,"thumbUrl":29569,"material":2164,"size":2165,"collection":139,"collections":29570,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":94},288491,"liu-zu-jie-zhu-tu-liang-kai-288491","六祖截竹图","画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[7,23,209,225,173,244,106,243,226,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613ca3795615c3e18fe9384d18d42ce9.jpg",[],{"id":29572,"slug":29573,"title":29574,"dynasty":18,"author":708,"museum":311,"description":10109,"tags":29575,"thumbUrl":29576,"material":2164,"size":2165,"collection":139,"collections":29577,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},283639,"song-yin-guan-pu-tu-zhou-xia-gui-283639","松荫观瀑图轴",[7,209,23,24,225,173,29,1365,466,176,106,26564,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2244bd7660b66c06c86a83b72fb12eb0.jpg",[],{"id":29579,"slug":29580,"title":29581,"dynasty":18,"author":278,"museum":311,"description":29582,"tags":29583,"thumbUrl":29584,"material":139,"size":139,"collection":139,"collections":29585,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":94},239659,"mi-fei-san-zha-juan-yi-ming-239659","米芾三札卷","这卷行书尺牍合集，尽显米氏刷字风神。笔势纵逸跌宕，提按转折间萧散俊朗，点画粗细变幻、字形欹侧相生，带着晋人帖学的流丽韵味。\n\n信札皆是日常絮语，性情全融笔墨之中，或舒展或紧敛，枯湿浓淡相映，章法错落天成，全无匠气排布，尽是随手挥写的真趣。卷内钤印琳琅，与笔墨相映，流转着古雅的收藏脉络，尽显宋代文人信手挥毫的随性雅致，将尺牍书法的抒情性与艺术性融为一体，潇洒笔底尽是一代书家的自在风骨。",[7,24,86,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728347595c279efbc3ddf6abec3fa9b.jpg",[],{"id":29587,"slug":29588,"title":7385,"dynasty":189,"author":278,"museum":311,"description":29589,"tags":29590,"thumbUrl":29591,"material":2164,"size":2165,"collection":139,"collections":29592,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},231848,"fo-xiang-yi-ming-231848","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[7,23,243,225,28,27,106,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa625b9eb159088ba4568259afe93d57a.jpg",[],{"id":29594,"slug":29595,"title":29596,"dynasty":277,"author":27021,"museum":311,"description":29597,"tags":29598,"thumbUrl":29602,"material":139,"size":139,"collection":139,"collections":29603,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},230476,"jiang-hu-shi-dai-feng-shen-lei-shen-tu-ping-feng-jiu-jing-bao-yi-230476","江户时代 风神雷神图屏风","狞恶忿怒的面相搭配蓬乱如戟的须发，肌肉贲张的肢体满是狂暴力量感，风神腾跃于烟霭之上，握持系着风铎的绳索，青绸长带随罡风翻卷破空，仿佛能听见风铎清响混着呼啸长风。\n\n泥金笺底晕开暗沉烟霭，衬出神祇御风的缥缈动感，刚硬狞厉的面相与柔婉飘带形成强烈对冲，将风神席卷天地的威仪诠释得淋漓尽致。工写兼用的笔意，将无形罡风化为可视的磅礴威仪，静穆屏风之上，晕开浩荡天地气机，让人仿佛能触到扑面而来的浩荡天风。",[7,23,24,299,27,106,29599,808,243,4176,29600,29601,28,8035],"神","神话形象","和风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a863bc1f73bf32374c8bc386a382b8e.jpg",[],{"id":29605,"slug":29606,"title":29607,"dynasty":76,"author":18846,"museum":311,"description":29608,"tags":29609,"thumbUrl":29610,"material":2164,"size":2165,"collection":139,"collections":29611,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":49},230264,"wei-bei-dui-lian-hong-yi-fa-shi-230264","魏碑对联","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。",[7,315,21136,86,7024,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bfe425540168f9729a559424f2b802c.jpg",[],{"id":29613,"slug":29614,"title":29615,"dynasty":99,"author":817,"museum":311,"description":27771,"tags":29616,"thumbUrl":29617,"material":2164,"size":2165,"collection":139,"collections":29618,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},228880,"zhu-cha-shi-wen-zheng-ming-228880","煮茶诗",[7,24,86,178,225,939,173,263,5569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb1d4b72435f608c2fe35218f6399b3.jpg",[],{"id":29620,"slug":29621,"title":29622,"dynasty":99,"author":25790,"museum":311,"description":29623,"tags":29624,"thumbUrl":29625,"material":2164,"size":2165,"collection":139,"collections":29626,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":94},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[7,209,23,173,27,28,104,106,107,108,175,866,109,115,34,114,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],{"id":29628,"slug":29629,"title":29630,"dynasty":99,"author":1025,"museum":311,"description":29631,"tags":29632,"thumbUrl":29634,"material":139,"size":139,"collection":139,"collections":29635,"showCount":29562,"zanCount":1337,"manualWeight":48,"mainColor":49},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","【文物现状】现藏美国克利夫兰美术馆 绢本，设色，长卷，纵：29.8厘米，横：148.2厘米。\n现藏美国克利夫兰美术馆，是明代画家 的人物画中代表性作品之一。\n“ ”指的是唐代文人胡杲、吉玫、刘贞、郑据、卢贞、张浑、白居易及李元爽、禅僧如满九位老者。\n他们因志趣相投，结为九老会。\n此图绘唐武宗会昌五年（公元845年）三月二十四日，九老在白居易之居处欢聚，既醉且欢之际赋诗画画的情景 。\n根据 香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[7,23,25,27,28,106,175,34,1028,29633,115,228,370],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],{"id":29637,"slug":29638,"title":29639,"dynasty":189,"author":278,"museum":311,"description":29640,"tags":29641,"thumbUrl":29642,"material":139,"size":139,"collection":139,"collections":29643,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":49},228212,"hang-zhou-xi-hu-tu-yi-ming-228212","杭州西湖图","以团扇形制铺陈湖山胜概，石青石绿晕染峰峦，古绢底色沉厚，衬得青绿明妍雅致，勾勒出峭拔崖嶂与层叠林木。亭台楼阁依山面水排布，飞檐斗拱精工细绘，尽显江南苑囿的雅致规整。湖面开阔淡远，长桥卧波隐现其间，远山含黛晕出空濛烟岚。\n\n构图虚实相生，繁复界画楼宇与清旷湖山相映，既见对实景的精细摹写，又以淡墨轻岚烘托出西湖柔婉清远的诗意氛围，带着元代青绿山水的复古意趣，将城湖揽胜的雅致图景凝缩尺幅，尽展江南名湖的从容雅致，藏着古人对湖山胜景的倾心描摹。",[7,23,24,26,27,29,104,107,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a00903c88ee41eed7d372b81389a0b5.jpg",[],{"id":29645,"slug":29646,"title":29647,"dynasty":189,"author":23683,"museum":311,"description":29648,"tags":29649,"thumbUrl":29650,"material":139,"size":139,"collection":139,"collections":29651,"showCount":29562,"zanCount":1337,"manualWeight":48,"mainColor":94},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[7,23,209,25,173,177,29,34,35,15422,1265,11241,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],{"id":29653,"slug":29654,"title":29655,"dynasty":18,"author":29656,"museum":311,"description":29657,"tags":29658,"thumbUrl":29659,"material":139,"size":139,"collection":139,"collections":29660,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},227959,"ya-zi-zhen-ji-zhu-ke-rou-227959","鸭子真迹","朱克柔","此作用缂丝之艺摹绘水畔小景，紫鸭静立石上，抬首远眺，神态悠然舒展，将水禽野逸之态尽显。羽色以淡紫晕染，层次柔润细腻，将绒羽蓬松质感逼真呈现。旁侧墨竹挺劲清逸，枝叶错落舒展，虚实相生间烘托出幽寂雅致的水汀氛围。整体兼工带写，以丝代笔，既保留了工笔的细腻精致，又暗含文人写意的疏朗意趣。配色淡雅和谐，含蓄审美藏于方寸之间，将禽鸟野趣与清雅意境相融，尽显缂丝工艺与花鸟意趣的绝妙结合。",[7,23,24,83,27,28,925,226,263,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaed484653346668e58fa3412de78120.jpg",[],{"id":29662,"slug":29663,"title":29664,"dynasty":18,"author":708,"museum":311,"description":29665,"tags":29666,"thumbUrl":29667,"material":139,"size":139,"collection":139,"collections":29668,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},227729,"mei-xia-du-shu-tu-ye-xia-gui-227729","梅下读书图页","夏圭的山水画看似简单却饱含意境，“夏半边”的陈设方式在表现山水韵味的基础上具有一定的文人画意味，这种画面的大胆裁剪体现出了中国画“计白当黑”的美学标准，是画面“置陈布势”的重要组成部分。",[7,23,24,81,173,27,29,106,402,174,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46974e98376d3ea1cd40fa451fdba27.jpg",[],{"id":29670,"slug":29671,"title":29672,"dynasty":18,"author":278,"museum":311,"description":29673,"tags":29674,"thumbUrl":29675,"material":139,"size":139,"collection":139,"collections":29676,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},227391,"e-mi-tuo-fo-jie-yin-tu-yi-ming-227391","阿弥陀佛接引图","佛教绘画自东汉传入中国，在魏晋南北朝时期与中国传统绘画融合发展，使佛教绘画呈现出中国化的趋势，又在隋唐时期统治者大力发展佛教的文化背景下发展到一个隆盛的顶峰。佛画风格融合了中国本土文化从而使佛教绘画完全融合于中国传统绘画，形成了中国特有的佛画艺术风格，充分体现出佛教绘画在中国各朝代发展的历程，实际上就是佛教艺术中国化的过程。",[7,23,24,225,243,106,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f039a18240b22680ef7ebbc367140ee.jpg",[],{"id":29678,"slug":29679,"title":4701,"dynasty":18,"author":278,"museum":311,"description":29680,"tags":29681,"thumbUrl":29682,"material":139,"size":139,"collection":139,"collections":29683,"showCount":29562,"zanCount":1337,"manualWeight":48,"mainColor":94},227387,"shu-kui-yi-ming-227387","此画选自《宋人收藏绘本》。 原本应该是一种具有实用功能的扇形面条，但后来以相册的形式转化为草图。 全幅双钩挂满，写有一株蜀葵（古称木槿），花苞无数，第二次绽放，布局和姿态自然生动。 比如花瓣的钩子和叶子的锯齿筋，笔刷都一展身手。 枝条、花萼、叶背也染上了青绿色和多汁的绿色，翻到一旁时，显得十分美丽和真实。 虽非作者印章，但画风具有宋代庭院花画的清秀特点，应该出自南宋画院专家之手。",[7,209,23,24,28,27,83,62,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3504db8c782a0bf56ff3d8e7afbe96.jpg",[],{"id":29685,"slug":29686,"title":29687,"dynasty":18,"author":22476,"museum":311,"description":29688,"tags":29689,"thumbUrl":29690,"material":139,"size":139,"collection":139,"collections":29691,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},226559,"zhuo-xie-tu-juan-hu-gui-226559","卓歇图卷","《卓歇图》是五代 创作的一幅绢本设色画，现收藏于北京故宫博物院。\n纵观整幅图，前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入静态，在马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。\n舞蹈者在音乐的伴奏下跳跃，构成全图的高潮，充分显示了画家处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。\n全画可分为三大段，第一、第二段，一大群密密匝匝的人马占据了画面的大半部分。\n主要是画狩猎归来，人马嘈杂的场面及骑士们滚马下鞍牵马准备休息时互相交谈的场面。\n他们有的席地而坐，静静地休息。\n有的整理马鞍，马鞍上驮着鹅雁等猎物还未曾卸下，也有的伫立交谈，形态各异。\n整幅画面中的骑士虽然众多，他们或聚或散地占据了大半画面，但并不是画中的主角。\n画卷最后一段描述宴饮的场面才是真正的主角，画幅中的契丹大汗正端坐在豪华地毯上饮酒观舞，大汗服饰华丽，神态悠闲，看面容似乎被舞者美妙的舞姿所吸引，正凝神观望，颇为陶醉。\n他的妻子阏氏着汉装于右侧相陪，二人面前有一侍者跪立奉盏，还有一侍者挥动衣袖，翩翩起舞，以助酒兴。\n佩戴弓矢的彪悍侍卫和纤纤玉立的侍女站立在汗王与阏氏的周围，全神戒备，细心侍候。\n该图引首有清代张照书“番部卓歇图”五字和乾隆皇帝题写的“卓歇歌”三字，后幅有元代王时，清代高士奇、张照的跋文。\n本幅及前后隔水有“忠孝之家”“吴龙之印”“石阊”“简静斋”“高士奇图书记”“江村秘藏”“竹窗堂章”（半印）等多枚鉴藏印记。\n南宋初期，宋廷为绥靖和善或刺探情报，大量派使团出使金国。\n入金后，按女真风习，必然将汉族儒士的右衽服改为左衽，并且要先随女真头领出猎数日后，方可商议政事。\n这是一件有史实性的人马画，惜无题记，难知其具体的历史故实。\n从画面上看，作者表现了南宋使臣随金朝官僚出猎时小歇的情景。\n《卓歇图》中“卓歇”一词的汉语含义并不是十分明晰。\n《辽史》中偶有“卓枪”、“卓帐”等与“卓”有关的词语。\n其“卓”带有“立”或“暂立”的意思。\n关于“卓歇”，可以理解为“搭起帐篷临时休息”的意思。\n此作中虽然没有帐篷。\n但是由于胡壤的同类题材作品多以“卓歇图”命名，所以，后人也将其作为这件作品的名字。\n也有学者认为，该图虽然传为辽代胡瓌的画迹，但据画中所绘的少数民族族别系金代女真人，其不可能是胡壤的真品，系金初（12世纪上半叶）汉族画家的手笔。\n在画卷的左侧，两个主要人物盘腿坐于毯上，身着契丹服装的男子即为契丹可汗，他的阏氏则穿着白色汉服，看起来彬彬有礼的样子。\n男女侍从分列二人身后恭敬以待，前面有侍者跪地敬酒，可汗接酒豪饮，还有一男子在乐队的伴奏下跳起舞蹈助兴，献花者向可汗和阏氏缓缓走来。\n画面再向远处是骑兵休息的地方，这些骑士或坐或立，面露倦容，有的打着哈欠，有的伸腰展背，有的安顿马匹，有的相互交谈，等待着支起帐篷。\n马匹上的猎物还未曾卸下，鞍鞯上缚着大雁等飞禽，显然在刚才的围猎中收获颇丰。\n图中人物各异的姿态和服饰，显示着他们的等级地位，具有一定的写实性。\n《卓歇网》的构图匠心独运，图中人物有7人，马约24匹，但画家处理得错落有致，疏密跌宕，又有条不紊。\n浑然一体。\n胡瓌所描画的线条准确有力，“虽繁复细巧，而用笔清劲”，不仅将人物的各异形神传达得恰到好处，而且也表现出不同衣服的质感。\n这种笔法与唐代中原地区的绘画存在许多近似之处，体现着各民族在文化艺术方面的相互影响和交流。\n看此卷的表现手法，展现了画家娴熟的创作技巧，画面背景荒凉寂静，笔法古健雄劲，线条繁密多变而流畅，色彩沉着，人物、鞍马的造型，既简洁凝重又准确自然，具有很高的艺术水平，画家通过长、短、粗、细等不同的线条把物象刻画得极为生动，无论是勾勒鞍马、衣服的长线，还是表现人物发须的短线，用笔皆沉稳扎实，体现了当时北方画派的特色和契丹画师的独特画风。\n另外，作品中的一些细节之处（像悬挂在鞍鞯之上的猎物），画家也描绘得细致入微、一丝不苟。\n中国艺术研究院研究员 ：这是一幅北方游牧民族生活场景的风俗画面，很富于地方色彩和情趣。\n笔法古劲，精密，色彩沉着，具有很高的艺术水平。\n《卓歇图》卷奠定了金代人马画的发展走向，即线条凝练、造型生动、画风淳朴，着意于表现女真族勇悍和粗犷的民族个性及浪漫不羁的草原生活，并一直影响了元初的人马画艺术。\n这件《卓歇图》被冠以胡壤之名后，更增添了对后世人马画的范本作用，尤其是画中的人物发式和服饰，几乎成了表现北方少数民族人物形象的定式。\n这幅作品为了解中国少数民族历史提供了实录，具有很大的史料价值。\n清代阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》对该图有著录。\n《宣和画谱》曾载有胡瓌《卓歇图》九幅，但现存的这一幅没有宜和的印章和题跋，不知是否曾为宣和所收藏。\n南宋杨王体《中兴馆阁储藏》和元周密《云烟过眼录》中都提到胡《卓歇图》，但也无从考证是否就是这幅画。\n现存的《卓歇图》曾经《石果宝笈续编》著录，上最早的题跋是元代的王时，据清代高上奇的考证，说他是元代皇帝的侍御之臣。\n到了明代，当时鉴藏家张丑，在《清河书画舫》里说：“绢本胡番部卓歇图，尘垢破裂，神彩如生，明昌秘物也，今在韩氏。\n”的确，清初画卷落到高十士奇手里的时候，绢素已经碎裂得很厉害，经过了一次重装，后来为清宫所收藏，乾隆在画上题了“神完景肖”四个大字，还做了一首《卓歇歌》写在引首。\n解放后藏故宫博物院。\n胡瓌，五代后唐画家。\n山后契丹乌索固部落人。\n随李克用（856—98）入中原，居范阳（今河北涿州）。\n善画契丹人马．写北方游牧民族生活，举凡帐篷毡幕、旗帜、弓箭以及人马装饰等，曲尽塞外景色。\n笔调清劲爽利，构图繁富细巧。\n传世作品有《卓歇图》、《蕃马图》等。",[7,28,27,25,106,150,263,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea4336c19ab1c123b73479d19a84a80.jpg",[],{"id":29693,"slug":29694,"title":29695,"dynasty":76,"author":29696,"museum":9826,"description":29697,"tags":29698,"thumbUrl":29699,"material":139,"size":6568,"collection":90,"collections":29700,"showCount":29562,"zanCount":1337,"manualWeight":48,"mainColor":94},224544,"mo-song-tu-weng-fang-gang-224544","墨松图","翁方纲","翁方纲（1733—1818），字正三，号覃溪，晚号苏斋，顺天大兴（今属北京市）人。清乾隆十七年（1752年）进士，官至内阁学士。翁方纲精于考据、金石、书法之学，又是清代'肌理说'诗论的倡始人。书学欧、虞，谨守法度。尤善隶书，相传翁方纲能在瓜子仁上书写小楷字，功力精熟可见一斑。《清朝书画录》把他和刘墉、梁同书、王文治齐名，并称'翁、刘、梁、王'。亦与刘墉、成亲王永瑆、铁保齐名，称'翁刘成铁'。",[7,23,24,209,173,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34613a6fbd97265e1f60882c39df8312.jpg",[90],{"id":29702,"slug":29703,"title":29704,"dynasty":76,"author":1563,"museum":311,"description":29705,"tags":29706,"thumbUrl":29707,"material":139,"size":139,"collection":139,"collections":29708,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},224184,"hua-niao-cao-chong-tu-ba-03-hua-yan-224184","花鸟草虫图八-03","此作兼工带写，以淡逸之笔绘就秋日常景。瓜藤迤逦缠绕，墨竹穿插其间，劲挺竹叶以浓墨挥写，尽显清刚意态。没骨晕染的瓜叶鲜活舒展，浓淡过渡自然。赭色螳螂静伏叶间，秋虫攀附艳色黄花，草虫刻画细腻逼真，灵动如生。\n右上角题诗呼应画境，将秋野闲逸之趣融于诗画。整体设色柔和雅致，笔意松灵秀逸，把寻常小景晕染出诗意禅味，尽显文人写意的空灵隽秀，将秋日郊野的生机野趣娓娓道来。",[7,23,24,81,27,83,511,226,11917,853,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c969a769d5bae547a54eea345c4adb1.jpg",[],{"id":29710,"slug":29711,"title":29712,"dynasty":18,"author":278,"museum":206,"description":29713,"tags":29714,"thumbUrl":29717,"material":40,"size":29718,"collection":139,"collections":29719,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},223586,"hua-qian-shou-qian-yan-guan-shi-yin-pu-sa-yi-ming-223586","画千手千眼观世音菩萨","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，他的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[7,209,23,24,225,243,8567,28,27,8041,106,4636,29715,18984,245,29716,3861,7386],"千手千眼","光环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeb00110c2af854cb19eb6e127dce762.jpg","176.8公分横：76.2公分",[],{"id":29721,"slug":29722,"title":4784,"dynasty":76,"author":9641,"museum":311,"description":29723,"tags":29724,"thumbUrl":29725,"material":699,"size":29726,"collection":139,"collections":29727,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":94},223372,"lan-tu-yun-xiang-223372","清代女道士，无锡人，生卒年不详，俗姓王，名静莲，一名岳莲。自幼出家于惠山福慧双修庵，后自度为女道士。因慕明末秦淮八艳之一卞玉京为人，故取号玉井道人，又号清微道人。韵香能书擅画，尤擅画兰。韵香收藏有《空山听雨图册》，韵香将此图册视为生家性命，因图册佚失，她特地请画家文人重新作图题诗，不料图册再度佚失，韵香因此遭受打击，心灰意懒，不久即离开了人世。韵香死后，《空山听雨图册》几经流转，散而复聚，最后归于无锡博物院。\n《空山听雨图册》外尺寸为横25.5厘米×纵36.5厘米，每开画心尺寸不一，其名称缘于清代金石书画家奚冈为韵香所作《空山听雨图》。今图册中有吴让之所题隶书“空山听雨图”，并跋云：“清微道人有奚铁生所画空山听雨图，生平寄意在此，乞一时名贤题咏……”奚冈所作《空山听雨图》原作佚去，奚冈生卒年为1746—1803年，此图的创作年代不会晚于1803年。无锡博物院所收藏的《空山听雨图》共有5开，吕培一开，作于壬申（1821年）首夏。许乃谷一开，未署年款，落款注明“清微道人属写”。沈梧两开，分别作于同治甲子（1864）年、乙丑（1865）年。叶衍兰一开，作于光绪丁丑（1877）年。沈叶二图当为后世藏家追慕前贤，作图以示敬仰之意。吕培所作为浅设色，许乃谷所作为水墨，二人均用米家云山图写之，水渚烟树小阁，濛潆凄迷。奚冈原作虽不可见，从吕许二人所作云山图可以想象原作大致面貌。\n《空山听雨图》有上百人题咏，其中刘墉一开，其题咏不会晚于刘墉卒年1804年。洪亮吉、赵怀玉同题于一开，分别为1804年和1805年。刘洪赵这二开当为《空山听雨图》未佚失前的原有题咏。（赵钦仁辑）",[7,209,23,24,25,173,406,229,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098d109487c7c07d1876d37c94f78122.jpg","28x383厘米",[],{"id":29729,"slug":29730,"title":29731,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":29732,"thumbUrl":29733,"material":67,"size":2225,"collection":139,"collections":29734,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":94},223073,"hong-lou-meng-59-sun-wen-223073","红楼梦59",[7,23,24,25,28,27,26,25757,25756,106,1205,107,29,109,1028,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce03b42f75b32d3656103e5544ed7796.jpg",[],{"id":29736,"slug":29737,"title":29738,"dynasty":76,"author":29739,"museum":523,"description":29740,"tags":29741,"thumbUrl":29743,"material":637,"size":29744,"collection":90,"collections":29745,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","图绘山脚坡石之间，流溪如练，天竹数丛，卓秀多姿。野生蔷薇，随风摇曳。丛丛簇簇的幽兰，各放馨香。树下一双美雉，悠然唱和，美丽动人。石后文杏高耸，繁花缀满枝头，鹦鹉停息树梢，双燕穿飞花间。一个鸟语花香的世界。",[7,23,24,28,27,83,402,370,29742,176,62,759],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c8d78323e1e166ec5d52532c3a4c51.jpg","纵196.7cm，横96.5cm",[90,45],{"id":29747,"slug":29748,"title":29749,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":29750,"thumbUrl":29751,"material":27,"size":1608,"collection":139,"collections":29752,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":94},222728,"xian-e-chang-chun-tu-hai-tang-yu-lan-tu-lang-shi-ning-222728","仙萼长春图海棠玉兰图",[7,209,23,24,81,28,27,83,1353,371,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402be11b89f693a14c347585e12d9775.jpg",[],{"id":29754,"slug":29755,"title":29756,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":29757,"thumbUrl":29758,"material":27,"size":1608,"collection":139,"collections":29759,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":94},222726,"xian-e-chang-chun-tu-tao-hua-tu-lang-shi-ning-222726","仙萼长春图桃花图",[7,28,27,83,264,266,263,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F609bc1638fb111c0e9f3c89cf15214aa.jpg",[],{"id":29761,"slug":29762,"title":29763,"dynasty":76,"author":5585,"museum":6249,"description":29764,"tags":29765,"thumbUrl":29766,"material":16468,"size":29767,"collection":181,"collections":29768,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},222633,"tian-tai-bai-song-tu-gao-feng-han-222633","天台白松图","绘松树两棵，松杆粗壮，松针茂密；灵芝依树而生，形状如耳。此幅图亦是一幅祝寿图，松树寓长寿，灵芝是长生，瑞草有“松树延年 灵芝祥瑞”的寓意。图上自题：“天台白松 高凤翰左手 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画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[7,23,24,25,27,28,26,178,263,29,106,174,6868,34,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":29829,"slug":29830,"title":29831,"dynasty":99,"author":3908,"museum":206,"description":23306,"tags":29832,"thumbUrl":29833,"material":27,"size":29834,"collection":90,"collections":29835,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":94},222180,"hua-niao-shan-mian-lu-zhi-222180","花鸟扇面",[7,23,1352,27,83,404,370,283,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe186c518a951a238ca279262f34bd2f5.jpg","纵31厘米、横61厘米",[90,45],{"id":29837,"slug":29838,"title":29839,"dynasty":99,"author":3908,"museum":56,"description":29840,"tags":29841,"thumbUrl":29842,"material":173,"size":29843,"collection":139,"collections":29844,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":94},222174,"fang-zhao-meng-jian-shui-xian-tu-lu-zhi-222174","仿赵孟坚水仙图","本幅墨色更淡，已近白描，长卷中水仙花开，风姿绰约，细叶舒展，清新自然。技法上，以细线勾勒出每一个花叶，笔致细劲挺秀。陆治，字叔平，明代画家，工山水、花鸟，好诗词，善书法。",[7,23,24,25,244,173,105,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155fe574b2ec859a2c1b8442ae497d02.jpg","36×1067.3cm",[],{"id":29846,"slug":29847,"title":29848,"dynasty":189,"author":29849,"museum":20,"description":29850,"tags":29851,"thumbUrl":29852,"material":699,"size":29853,"collection":90,"collections":29854,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":94},221829,"shui-xian-tu-can-juan-wang-di-jian-221829","水仙图残卷","王迪简","王迪简[元]字庭吉，号蕺隐，新昌（今浙江新昌）人，南宋遗民（公元13世纪末），生卒年不详。，终生隐逸于浙江绍兴乐郊蕺山之阳，善画水仙，亦善山水。所绘水仙布局繁密，繁而不乱，花叶穿插、伸展、俯仰自如，层次分明，恣态生动，淡墨渲染，恬淡雅逸，画风与南宋赵孟坚相近",[7,23,24,25,244,405,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277d45077ca97bfec784e17da06c3c1d.jpg","39X415",[90,163],{"id":29856,"slug":29857,"title":6818,"dynasty":189,"author":2996,"museum":20,"description":29858,"tags":29859,"thumbUrl":29860,"material":40,"size":29861,"collection":163,"collections":29862,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":49},221817,"zhu-shi-tu-zhou-li-kan-221817","元李衎竹石图轴为元代李衎所绘，绢本，设色。纵185.5厘米，横153.7厘米。藏故宫博物院。该幅图未署名款，钤印两方，已残缺，可见“李”、“息”字。诗塘有明代李东阳的小草题记，也为此画增色不少。该幅“竹石图”是李衎的名作之一。图中竹以双勾填色而成，工整而有韵味，设色而又雅致，竹繁而不乱，表现了春天大自然中万物复苏、生机勃勃景色，有二杆新竹已与老竹并肩齐趋，让人联想到雨后春笋猛发的情景。坡上山石以细披麻皴画出，黑色沉重，以压阵角，石后穿插小竹野树，富有变化。",[7,23,24,225,173,28,177,226,385,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae45236279f406d24f6f02f8275daac.jpg","纵185.5厘米，横153.7厘米",[163,1896],{"id":29864,"slug":29865,"title":29866,"dynasty":18,"author":1419,"museum":206,"description":29867,"tags":29868,"thumbUrl":29869,"material":123,"size":2559,"collection":139,"collections":29870,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},221524,"yue-ye-bo-ruan-zhou-ma-yuan-221524","月夜拨阮轴","画中采用了大量留白，近处只刻画一角。画中人物独坐，如痴如醉的弹奏阮琴，只有一只仙鹤为伴。远处层峦山脉，马远只用寥寥几笔带出，在无尽的留白中，一轮满月轻悬于空。\n马远的画作以小见大，“一沙一世界，一树一菩提”，马远所画一角，便能呈现出广袤无际的天地。",[7,23,209,24,225,173,177,29,226,285,1265,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa301730172f5443a0e5a99c9f55ffb2b.jpg",[],{"id":29872,"slug":29873,"title":29874,"dynasty":18,"author":461,"museum":206,"description":4459,"tags":29875,"thumbUrl":29876,"material":67,"size":29877,"collection":139,"collections":29878,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},221387,"bao-shan-shi-jing-ce-fan-kuan-221387","包山十景册",[7,209,23,24,81,27,29,176,34,1087,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a3b1370dc9ee21fc24baeb7fb8ad8.jpg","30.2x31.8",[],{"id":29880,"slug":29881,"title":29882,"dynasty":18,"author":13896,"museum":260,"description":29883,"tags":29884,"thumbUrl":29885,"material":27,"size":29886,"collection":42,"collections":29887,"showCount":29562,"zanCount":1337,"manualWeight":48,"mainColor":49},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[7,23,209,24,25,27,28,106,29,2279,384,86,263,436,13899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[7,23,24,25,173,177,29,176,34,35,111,1265,11241,1365,28112,37,3981,114,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[181],{"id":29964,"slug":29965,"title":29966,"dynasty":99,"author":29967,"museum":1279,"description":29968,"tags":29969,"thumbUrl":29972,"material":123,"size":29973,"collection":181,"collections":29974,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":49},220036,"xi-shan-mu-yun-tu-zhang-lun-220036","溪山暮云图","张伦","左上自题王维《过香积寺》诗：“不知香积寺，数里入云峰。古木无人径，深山何处钟？泉声咽危石，日色冷青松。薄暮空潭曲，安禅制毒龙。”款署：“摹元人笔法，时甲辰秋前二日，画于披月草堂，瘦生张伦。”图录于《艺苑掇英》第三十五期。艺术活动约在嘉靖、万历间。",[7,23,209,173,29,225,108,109,5174,176,35,13401,86,29970,177,243,29971],"摹古","薄暮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0da047626d853db8b7883f88e25a34c.jpg","纵174.5厘米，横78.8厘米",[181],{"id":29976,"slug":29977,"title":29978,"dynasty":99,"author":25360,"museum":447,"description":29979,"tags":29980,"thumbUrl":29981,"material":88,"size":29982,"collection":181,"collections":29983,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":94},219750,"liu-ruan-tian-tai-tu-ding-yun-peng-219750","刘阮天台图","石缘林漱玉凉，远上紫逻更苍苍。溪边列树云和静，洞口落寞水亦香。作记未应拟彭泽，成诗早见有曹唐。浙东仙境依然在，可复双鬟待二郎。乾隆戊寅春御题",[7,23,209,225,28,27,263,29,106,34,176,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151f3ed0233acb65b06439368bfeb4ac.jpg","纵136.7横33.5厘米",[181],{"id":29985,"slug":29986,"title":1462,"dynasty":189,"author":18509,"museum":1098,"description":29987,"tags":29988,"thumbUrl":29989,"material":409,"size":29990,"collection":181,"collections":29991,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},219729,"shan-shui-tu-fang-cong-yi-219729","右侧危崖壁立，飞泉隐于崖间垂落，左侧峰峦逶迤向远，留白晕染出浩渺烟波，虚实之间拉开山水纵深。以干笔皴擦勾勒山石肌理，苍劲老辣，林木仅以简笔点染，便生幽荒野趣。山脚村居错落藏于林泉，淡墨晕开水色，将山野幽寂缓缓铺陈。\n\n题跋朱印错落排布，诗书画印浑然一体，将元人隐逸的林下意趣藏于笔墨。整幅简淡萧疏，以笔意写尽胸中丘壑，把林泉高致的雅逸缓缓吐露，尽显超脱世外的静穆淡远。",[7,23,24,225,173,177,29,734,385,34,468,35,1265,37,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[181],{"id":29993,"slug":29994,"title":29995,"dynasty":18,"author":5793,"museum":206,"description":29996,"tags":29997,"thumbUrl":29998,"material":123,"size":29999,"collection":90,"collections":30000,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},219208,"fu-rong-shui-niao-tu-liang-kai-219208","芙蓉水鸟图","萧瑟水岸，枯树疏斜如铁线横陈，枝桠间栖一水鸟，羽翼敛着清寂，目光落向粼粼水面。几瓣芙蓉柔艳，绽在枯梢旁，刚柔相映成趣。水面如镜，水禽悠游，涟漪轻漾；远空淡雾里，飞鸟掠过，影迹渐消。墨色层次分明：淡墨晕染天际与水面，似笼薄纱；枯笔勾枝，见苍劲之态；细笔点花叶，藏雅致之韵。简笔不简意，疏放中含细腻，将宋人的闲远心境融于尺幅。万物自在，清寂里透着生机，仿佛能闻水禽划水轻响，风过枝叶微声，意境悠远，耐人寻味。",[7,23,209,1352,27,28,404,10202,266,865,2310,3899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9624696a3ecaca950aa26973ca863c4.jpg","纵25.1厘米，横25.1厘米",[90],{"id":30002,"slug":30003,"title":30004,"dynasty":18,"author":278,"museum":206,"description":30005,"tags":30006,"thumbUrl":30007,"material":123,"size":30008,"collection":90,"collections":30009,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":94},218856,"he-tang-yu-lu-tu-yi-ming-218856","荷塘浴鹭图","这幅画描绘了一个有荷花和摇曳的芦苇的浅水塘，一只白头鹅坐在池塘边梳理羽毛。荷花巨大，白粉涂得很重，掩盖了线条，而芦苇则用墨汁扫过，这与通常的花鸟彩色笔法不同，颇为有趣。这幅画的标题可能不正确，因为大雁被误认为是苍鹭。",[7,23,24,1352,28,27,83,227,136,9481,4208,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36b40f49eb9d1e1a577ea9c7a0e33576.jpg","20.3x19.9",[90],{"id":30011,"slug":30012,"title":30013,"dynasty":99,"author":30014,"museum":1098,"description":30015,"tags":30016,"thumbUrl":30017,"material":88,"size":30018,"collection":44,"collections":30019,"showCount":29562,"zanCount":1337,"manualWeight":48,"mainColor":629},218361,"wu-bai-ying-zhen-tu-dao-hong-218361","五百应真图","道宏","长卷中包含了几百名神态各异的僧人。或骑鹤乘凤，遨游虚空，或聚于山林讲经，或坐或卧于山涧或树下，或站而不语。...... 这些团体是不同的，而且剧情也不同。有几个小组只有一个人，但很多小组有几十个人。在群体之间，他们被那些回头看的人和搔首弄姿的人联系起来，以一种自然的方式不留痕迹地过渡。这确实是运动和起伏的组合。",[7,23,24,25,243,106,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F564d9e1b9d92f19ebe7c9da066bf364a.jpg","34.6x893",[44],{"id":30021,"slug":30022,"title":30023,"dynasty":189,"author":22031,"museum":206,"description":30024,"tags":30025,"thumbUrl":30026,"material":123,"size":30027,"collection":181,"collections":30028,"showCount":29562,"zanCount":2209,"manualWeight":48,"mainColor":49},218167,"jing-xi-tu-chen-ru-yan-218167","荆溪图","《元陈汝言荆溪图》是一幅中国古画，作者是陈汝言，现为台北故宫博物院收藏。此图画是应当地望族王氏后人的请求而画。近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。于古画中亦为奇格。",[7,23,24,29,173,177,27,734,282,384,1365,108,109,175,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa2acf84548c365b1717352065375a2.jpg","纵129厘米 横52.7厘米",[181],{"id":30030,"slug":30031,"title":30032,"dynasty":99,"author":278,"museum":447,"description":3650,"tags":30033,"thumbUrl":30034,"material":88,"size":139,"collection":139,"collections":30035,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":94},217952,"ming-ren-shan-shui-hua-ce-san-yi-ming-217952","明人山水画册(三)",[7,23,24,81,173,27,29,175,108,229,1365,866,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239dd48d883d23420a8004f26072dd6a.jpg",[],{"id":30037,"slug":30038,"title":1462,"dynasty":99,"author":278,"museum":447,"description":30039,"tags":30040,"thumbUrl":30041,"material":327,"size":30042,"collection":181,"collections":30043,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},214694,"shan-shui-tu-yi-ming-214694","这幅画描绘的是江村的一座古庙，深藏在一个大峡谷中，远处是风帆和山脉。这幅画没有标记，但仔细观察，其风格接近于浙江画派的蒋宋。",[7,23,173,177,29,174,1365,558,2310,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f5ab4f76c39dddea71108f0742f713f.jpg","161.5x100",[181],{"id":30045,"slug":30046,"title":22850,"dynasty":99,"author":30047,"museum":206,"description":30048,"tags":30049,"thumbUrl":30050,"material":409,"size":30051,"collection":328,"collections":30052,"showCount":29562,"zanCount":48,"manualWeight":48,"mainColor":49},214229,"cao-shu-wu-yan-lian-jin-sheng-214229","金声","草书五言联是明朝时期流行的一种书法形式。这种书法以流畅、柔和的笔法和优美的构图著称。其中“草书”指的是草笔书法，而“五言联”则指的是五个字组成的联句。\n\n明朝时期，草书五言联在宫廷文人和书法家中非常流行。这种书法的特点是，它使用了流畅的笔法和优美的构图，能够表现出精细的细节和丰富的内涵。此外，草书五言联还有一个特点，就是在书写时使用了较大的纸张，以便能够将五个字摆放在较宽的纸面上。\n\n草书五言联虽然流行于明朝时期，但它的影响却一直延续到了现代。许多著名的书法家都曾尝试使用这种书法来表现自己的艺术天赋，并在艺术展览中展出他们的作品。今天，草书五言联仍然是许多中国人所热爱的书法形式之一，并且在国内外均有广泛的收藏爱好者。",[7,23,24,86,2570,7024,225,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138e440fe4dca4e8a2f9ad3fe70c9266.jpg","135.2x24.2",[328],{"id":30054,"slug":30055,"title":30056,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":30057,"thumbUrl":30058,"material":2164,"size":2165,"collection":139,"collections":30059,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},290474,"shu-fa-ce-zhen-ji-10-zhen-zhu-da-290474","书法册真迹10帧",[7,81,86,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d002724df910e07b5b298afd344ff3.jpg",[],42,{"id":30062,"slug":30063,"title":30064,"dynasty":18,"author":14935,"museum":311,"description":30065,"tags":30066,"thumbUrl":30067,"material":2164,"size":2165,"collection":139,"collections":30068,"showCount":30060,"zanCount":2209,"manualWeight":48,"mainColor":94},288421,"ju-cong-fei-die-tu-cao-chong-zhu-shao-zong-288421","菊丛飞蝶图-草虫","图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。",[7,23,1352,28,27,83,692,512,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe49dd3804561dfd01b41e581c283a7eb.jpg",[],{"id":30070,"slug":30071,"title":30072,"dynasty":76,"author":30073,"museum":20,"description":30074,"tags":30075,"thumbUrl":30076,"material":139,"size":30077,"collection":181,"collections":30078,"showCount":30060,"zanCount":2209,"manualWeight":48,"mainColor":49},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[7,209,23,24,25,27,177,29,734,282,37,34,35,33,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[181,45],{"id":30080,"slug":30081,"title":30082,"dynasty":18,"author":446,"museum":311,"description":30083,"tags":30084,"thumbUrl":30085,"material":139,"size":139,"collection":139,"collections":30086,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},230968,"yun-shan-die-cui-tu-zhou-mi-fei-230968","云山叠翠图轴","此作用水墨晕染摹写江南烟峦，以米点皴晕出山麓林泽的苍润郁茂。层叠峰岫在流荡的云雾中半隐半现，虚实交错间晕开空濛幽远的氤氲之气，将江南烟雨的朦胧柔婉尽显。\n下方平林村居，屋舍错落清溪蜿蜒，林木苍黑如黛，山野的静谧闲适扑面而来。全画脱却工细刻画，笔墨简淡随性，以氤氲水墨营造出如梦似幻的烟岚世界，将自然山水的灵秀与文人写意的雅趣相融，传递出悠然淡远的山居意趣，尽显水墨山水空濛雅致的独特风韵。",[7,209,23,24,225,173,177,29,2279,734,175,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a45a3b012870db385d33969b86cdc64.jpg",[],{"id":30088,"slug":30089,"title":30090,"dynasty":99,"author":100,"museum":311,"description":3607,"tags":30091,"thumbUrl":30092,"material":2164,"size":2165,"collection":139,"collections":30093,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴",[7,209,23,24,225,28,27,26,106,29,136,33,1322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg",[],{"id":30095,"slug":30096,"title":30097,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":30098,"thumbUrl":30099,"material":2164,"size":2165,"collection":139,"collections":30100,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},230284,"wu-yan-lian-zhu-da-230284","五言联",[7,86,7024,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae62b118dfc7dc7ee73d8fae7f6edd4f.jpg",[],{"id":30102,"slug":30103,"title":30104,"dynasty":76,"author":1215,"museum":311,"description":30105,"tags":30106,"thumbUrl":30107,"material":139,"size":139,"collection":139,"collections":30108,"showCount":30060,"zanCount":2209,"manualWeight":48,"mainColor":94},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[7,23,209,29,27,177,81,734,282,466,468,34,176,37,3024,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":30110,"slug":30111,"title":30112,"dynasty":99,"author":12570,"museum":311,"description":30113,"tags":30114,"thumbUrl":30115,"material":139,"size":139,"collection":139,"collections":30116,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[7,23,24,25,173,27,177,105,29,30,34,35,31,174,266,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":30118,"slug":30119,"title":1553,"dynasty":189,"author":278,"museum":311,"description":30120,"tags":30121,"thumbUrl":30122,"material":2164,"size":2165,"collection":139,"collections":30123,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},228230,"guan-yin-yi-ming-228230","以淡逸铁线白描勾勒造像，衣纹圆转舒和如流云垂落，将观音静定安和的神态晕染开来。淡描头光不着浓色，愈发衬出造像澄澈出尘的气质。\n\n上方题字朴拙苍劲，率意天真，笔墨意趣与造像的清寂禅心相融相合，文与画互为表里。整幅舍去敷色繁饰，以极简笔墨托出慈悲空寂之态，将禅门万象皆空之理藏于素净纸面，于简淡之中见至深佛韵，观之令人俗念渐消，心神安谧。",[7,23,24,225,244,243,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf1fc1fccfe0241e7cf06c9f7628590.jpg",[],{"id":30125,"slug":30126,"title":30127,"dynasty":18,"author":1419,"museum":311,"description":30128,"tags":30129,"thumbUrl":30132,"material":139,"size":139,"collection":139,"collections":30133,"showCount":30060,"zanCount":2209,"manualWeight":48,"mainColor":49},227641,"cu-ju-tu-ma-yuan-227641","蹴鞠图","在汉代，由于汉高祖刘邦这位“超级球迷”的推行，蹴鞠逐渐发展成为一项非常专业化的运动，皇宫内开始出现专业足球场，即所谓“鞠城”，设有围墙和看台。比赛分两队，双方各有队员十二名，以踢入球门的球数多少来决定胜负，是现代足球的雏形。据说，此后西汉的皇帝如汉武帝刘彻、汉成帝刘骜都酷爱踢球，刘彻踢球时，还令其文学侍从作《蹴鞠赋》助兴。\n\n有比赛就有球星。施耐庵《水浒全传》中描写的那位——由一个市井泼皮逆袭成为殿前都指挥使的高俅，便是宋朝球技高超，经常陪伺宋徽宗踢球的著名球星。此外，宋代还有一批聚集在北宋汴梁城和南宋临安城内的职业球星，他们定期在皇宫蹴鞠宴会上表演踢球，专门靠踢球技艺维持生活，是当时地位较高的职业球星。\n\n南宋时期，宋代的球员还组织了博纳养生杯，相当于今 天的中超联赛。球员们团体，叫做“齐云社”，是专门的蹴鞠组织，这是我国最早的单项运动协会，而其提倡的志诚、温良、尊重、谦让的十个紧要章程，和戒多言、赌博、猖狂、酒色的十个禁戒，也成为我国最早的球队章程雏形。宋代之后，蹴鞠仍流行于贵族与官吏间。清朝建立以后，爱好溜冰的满人还将其与滑冰结合起来，发明了冰上蹴鞠的花样运动形式。直到1863年，现代足球运动在英国诞生，揭开了足球发展的又一历史篇章。",[7,23,2158,27,30130,30131,865,14224],"蹴鞠","古代体育运动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1057c9ef70fd3d2f2396ceb9de5bc8f.jpg",[],{"id":30135,"slug":30136,"title":30137,"dynasty":18,"author":19529,"museum":311,"description":30138,"tags":30139,"thumbUrl":30140,"material":139,"size":139,"collection":139,"collections":30141,"showCount":30060,"zanCount":2209,"manualWeight":48,"mainColor":49},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[7,209,23,24,225,27,29,106,150,154,4140,34,558,1422,107,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":30143,"slug":30144,"title":30145,"dynasty":76,"author":30146,"museum":311,"description":30147,"tags":30148,"thumbUrl":30149,"material":139,"size":139,"collection":139,"collections":30150,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},224347,"si-shi-hua-hui-si-qun-xian-ji-zhu-juan-wang-cheng-pei-224347","四时花卉（四）群仙集祝卷","汪承霈","此作以淡赭晕染沙汀坡岸，留白简淡衬出水仙清逸之姿。丛丛水仙错落排布，叶片以中锋运笔勾勒，青绿晕染尽显修长柔韧，舒展间带着挺劲生机。白瓣黄蕊的水仙或聚或散，花瓣勾勒细腻温婉，晕染柔和，将水仙冰肌玉骨的清雅气质尽显无遗。\n\n整体画面简淡空灵，以极简布景烘托出水仙孤高脱俗的品性，带着静穆清和的雅致意趣，将花卉柔美与清雅意境相融，笔致秀逸工丽，设色明洁淡雅，尽显雅致出尘的画中况味。",[7,23,28,27,25,84,405,109,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032bbeab1a7a452a4886295a486f862e.jpg",[],{"id":30152,"slug":30153,"title":30154,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":30155,"thumbUrl":30159,"material":67,"size":2225,"collection":139,"collections":30160,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},223078,"hong-lou-meng-64-sun-wen-223078","红楼梦64",[7,315,28,27,106,107,115,34,176,4272,30156,30157,386,30158,114],"门窗","屋顶","假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f6af9ab7a5efed7373e5af0719d36f.jpg",[],{"id":30162,"slug":30163,"title":30164,"dynasty":99,"author":18033,"museum":311,"description":7165,"tags":30165,"thumbUrl":30166,"material":699,"size":30167,"collection":139,"collections":30168,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图",[7,209,23,24,25,244,173,28,106,2161,808,2508,436,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],{"id":30170,"slug":30171,"title":30172,"dynasty":99,"author":6504,"museum":206,"description":30173,"tags":30174,"thumbUrl":30175,"material":573,"size":30176,"collection":90,"collections":30177,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},222407,"hua-fu-rong-bai-lu-zhou-zheng-shi-222407","画芙蓉白鹭轴","郑石，生卒年不详。系明画院中人，自署锦衣百户。\n工画花鸟，其画之风格出自宫廷花鸟画家吕纪。\n画幅之构图和树、石、花鸟的用笔，比之吕纪「秋鹭芙蓉」、「秋渚水禽」，显见在布局上较吕氏为简化。而用笔则不如其细致，有着较明显之提顿变化，渐趋向于浙派晚期之风味。",[7,23,24,225,27,28,83,404,1194,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6580b27108d81173535dc902fb47cdad.jpg","纵144.4厘米，横74.3厘米",[90,45],{"id":30179,"slug":30180,"title":30181,"dynasty":99,"author":100,"museum":20,"description":22989,"tags":30182,"thumbUrl":30183,"material":40,"size":22992,"collection":181,"collections":30184,"showCount":30060,"zanCount":2209,"manualWeight":48,"mainColor":49},222220,"nv-le-tu-chou-ying-222220","女乐图",[7,23,28,27,59,210,107,115,106,436,300,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1773ae43fc8291acbb6e1133fb797250.jpg",[181,45],{"id":30186,"slug":30187,"title":30188,"dynasty":99,"author":3908,"museum":523,"description":30189,"tags":30190,"thumbUrl":30193,"material":699,"size":30194,"collection":90,"collections":30195,"showCount":30060,"zanCount":2209,"manualWeight":48,"mainColor":94},222178,"hong-xing-ye-fu-tu-zhou-lu-zhi-222178","红杏野凫图轴","此画杏花盛开、野尧戏游、水草挺秀，一派自然界安宁、雅静、自由、活泼的和谐景象。赏之让人生趣，令人神往。\n画面上的“天空”，几乎被杏树的枝条占满了，盛开的红色杏花伸展于水面的上空，可以用“花枝招展”来形容杏树的形态。花枝横跨画面，连画的右侧顶端也是杏树的枝干，画面的下部，是一只大野尧，优哉优哉地浮现于水面之上，仿佛被盛开的红杏所吸引，在偏首高望;画面的左下侧，河岸边的水草簇簇挺拔，卓然而立。生动和谐、愈趣高雅的画面体现出作者观察之细腻，绘画技艺之高超，令人赏心悦目。这幅花鸟写意画中的“亮”，即是野鸭。古代时这种水鸟，是甚有声望的。",[7,23,24,225,27,173,83,30191,30192,282,314,658,178],"红杏","野凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33b057f3aab56336cb3fa23d67505c5.jpg","43.1x119cm",[90,45],{"id":30197,"slug":30198,"title":30199,"dynasty":189,"author":30200,"museum":1666,"description":30201,"tags":30202,"thumbUrl":30203,"material":30204,"size":30205,"collection":139,"collections":30206,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},221856,"yu-tu-lai-an-221856","鱼图","赖庵","赖庵《藻鱼图轴》，在中国古代大量有关鱼的绘画中具有代表性，鱼在水藻间出游从容，身体扭曲自然，画家以此明志。\n元代画家常常赋予鱼以类似人的个性。此图中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[7,23,24,4472,244,28,173,783,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6c0167aad2f00c768ac238d83f7767.jpg","绢本墨画","19.4×31.0",[],{"id":30208,"slug":30209,"title":3243,"dynasty":189,"author":2307,"museum":206,"description":30210,"tags":30211,"thumbUrl":30212,"material":173,"size":30213,"collection":181,"collections":30214,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},221789,"shan-shui-zhou-cao-zhi-bai-221789","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[7,23,24,225,173,177,29,865,4272,176,34,1265,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 80x27.8公分、全幅 52.2公分",[181,163],{"id":30216,"slug":30217,"title":30218,"dynasty":189,"author":30219,"museum":206,"description":30220,"tags":30221,"thumbUrl":30222,"material":409,"size":26606,"collection":90,"collections":30223,"showCount":30060,"zanCount":2209,"manualWeight":48,"mainColor":94},221764,"mo-mei-zhou-chen-li-shan-221764","墨梅轴","陈立善","款题：“白玉蟾善画梅，梅枝戍削几类荆棘，著花甚繁，寒葩冻萼不知有世上人。玉蟾本姓葛名长庚，出游海上，号海琼子，又号缤庵、武夷散人、神霄散吏、紫清真人，殆乎仙者也。昔年曾见其小幅题诗亦清绝，今擬之颇多合处。予初号两峰子，又号花之寺僧、金牛山人、蓼洲渔父、鹿裘生、人日生人，可谓遥遥相契于千载上矣。此帧为云峰先生作回溯厥画梅之源自若家始也。己亥孟冬罗聘记”。钤“两峰”白文印。“己亥”为乾隆四十四年（1779年），罗聘时年47岁。\n图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[7,23,24,225,173,402,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd340bc3b59e9c79c1a466dbf8d908424.jpg",[90,163],{"id":30225,"slug":30226,"title":30227,"dynasty":18,"author":2297,"museum":20,"description":30228,"tags":30229,"thumbUrl":30230,"material":40,"size":30231,"collection":42,"collections":30232,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},221593,"lie-quan-tu-li-di-221593","猎犬图","犬类作为专门的绘画题材最早出现在北宋《宣和画谱》中的“鸟兽”一门。宋代不乏画犬的专家，如宫廷画家李迪、李嵩、赵永年等。此图描绘的是宫廷御用猎犬，步伐矫健而闲雅。画风追求工整写实、细腻华丽而又形神兼备的宫廷审美趣味，是宋代院画的典型作品。",[7,209,23,24,28,27,808,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b356f522e268e5858d309346e863d8.jpg","纵26.5厘米，横26.9厘米",[42,90,45],{"id":30234,"slug":30235,"title":30236,"dynasty":18,"author":3466,"museum":1666,"description":30237,"tags":30238,"thumbUrl":30239,"material":4130,"size":30240,"collection":139,"collections":30241,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},221499,"yan-yuan-hou-tu-mu-xi-221499","岩猿猴图","日本古籍《松斋梅谱》中评价牧溪的绘画“皆随笔点墨而成，意思简当，不费装缀。”中国《画继补遗·卷上》载：“僧法常，自号牧溪。善作龙虎、人物、芦雁、杂画，枯淡山野，诚非雅玩，仅可僧房道舍，以助清幽耳。”其画笔墨淋漓，颇具禅意。遗迹多流日本。其《远浦归帆图》真迹藏于京都国立博物馆。其《松猿图》对日本禅画尤有影响。甚至被评为“日本画道的大恩人”。\n南宋画家牧溪是一个谜一样的人物，他擅长画山水、蔬果、和大写意破墨僧道人物，从这张《六柿图》中，我们可以体会到六个柿子随机的摆设，用在每个柿子上不同的笔墨、虚实、阴阳、粗细间的灵活运用，作品呈现出静物作品的“随处皆真”的境界。\n史籍关于牧溪的记载语焉不详。元代吴大素《松斋梅谱》有关于这位画家比较多的文字描述：“僧法常，蜀人，号牧溪。喜画龙虎、猿鹤、禽鸟、山水、树石、人物，不曾设色。多用蔗渣草结，又皆随笔点墨而成，意思简当，不费妆缀。松竹梅兰石具形似，荷芦写，俱有高致。”",[7,209,23,24,225,173,243,11064,229,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5cdc6899d1872fe756bc08c0532dfd.jpg","37.3×28",[],{"id":30243,"slug":30244,"title":30245,"dynasty":18,"author":15168,"museum":56,"description":30246,"tags":30247,"thumbUrl":30248,"material":699,"size":30249,"collection":328,"collections":30250,"showCount":30060,"zanCount":2209,"manualWeight":48,"mainColor":94},221472,"shu-du-fu-shi-di-yi-duan-zhang-ji-zhi-221472","书杜甫诗第一段","张即之（1186—1263年），宋代书法家，字温夫，号樗寮，历阳（今安徽和县）人。生于名门显宦家庭，为参知政事张孝伯之子，爱国词人张孝祥之侄，系中唐著名诗人张籍的八世孙。历官监平江府粮科院、将作监薄、司农寺丞。特授太子太傅、直秘阁致仕。",[7,86,19967,25,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966432f4ce381f8d9e768b7b32ee0d56.jpg","34.6x128cm",[328],{"id":30252,"slug":30253,"title":30254,"dynasty":18,"author":5270,"museum":56,"description":30255,"tags":30256,"thumbUrl":30257,"material":40,"size":30258,"collection":42,"collections":30259,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},221450,"zhou-song-qing-miao-zhi-shen-tu-quan-juan-ma-he-zhi-221450","周颂清庙之什图全卷","马和之《诗经·周颂·清庙之什图卷》取材《诗经·周颂》的内容，其内容是西周初年周王朝祭祀宗庙的舞曲歌辞，用典重的词章歌颂祖先的功德并祈求降福子孙。全图绘《清庙之什》十篇诗意，字画各十段，每段画前有《周颂》全文。右书左图，各幅相间，依次为《清庙》、《维天之命》、《维清》、《烈文》、《天作》、《昊天有成命》、《我将》、《时迈》、《执竞》、《思文》。",[7,209,23,24,25,27,28,244,86,263,106,29,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01c50754e74ad6bb6c4843682dac0cb.jpg","32.6*973cm",[42,181,163],{"id":30261,"slug":30262,"title":30263,"dynasty":18,"author":30264,"museum":206,"description":30265,"tags":30266,"thumbUrl":30268,"material":30269,"size":30270,"collection":42,"collections":30271,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},221259,"yan-guan-gu-si-jia-shi-gu-221259","岩关古寺","贾师古","圖中夜幕將降，夕輝猶存，上半部完全空白，構圖學馬遠“一角”的形式。山石皴法，雜用短釘頭，長括鐵、小斧劈諸皴法，由於夕照偏西，山體黝黑，石塊畫得岐蹭堅凝。山端聳有幾棵羅漢青松和一批古杉，石骨披滿勁硬的山草，通幅上色，染以汁綠，山石的中央一段用赫石水亮出，遂覺森嚴氣氛中有了點媚柔態，這是作者創作部署獨具匠心處。",[7,209,23,24,81,28,27,177,29,558,1365,30267,557,1265],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd4bd45db684e8e12f58b035f0a870.jpg","絹本，設色","縱40.0×橫40.0公分",[42,181,163],{"id":30273,"slug":30274,"title":30275,"dynasty":99,"author":2494,"museum":132,"description":30276,"tags":30277,"thumbUrl":30278,"material":67,"size":139,"collection":328,"collections":30279,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},220895,"lin-mi-fei-fang-yuan-an-ji-quan-juan-dong-qi-chang-220895","临米芾方圆庵记全卷","《董其昌临米芾方圆庵记》，绢本，二十五开，每开六行，行五或六、七、八字。全文共计七百六十八字，首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。\n米芾《方圆庵记》书于北宋元丰六年（一○八三年），是专为当时天竺高僧辩才法师主持杭州龙井山方圆庵所作。由陶拯刊石，墨迹末传。刻石早毁，故宋拓鲜见。沈石田旧藏此记拓本，同过沈俨云：“米友仁称，‘其父书，四角转折有八面，笔笔皆翔劲’，又称，‘有云烟卷舒飞扬之态’。观此记信然矣！” 董其昌（一五五五——一六三六）卒年八十二。少早学李邕，又学米芾，二家盘旋最深，得李十之二三，米之五六。生平无所不临。七十岁时初师颜真卿，又学虞永兴。进而****晋唐诸家，继往开来。行楷之妙，跨绝一代。自云：“与赵文敏较，各有短长……当吾作意，赵书迹输一筹。”但对米芾，则云：“米元章书沉着痛快，直夺晋人之社。”又云：“米老行草书传于世间，与晋人几争道驰矣”！屡云“学书运笔得米元章髓”。 辩才法师方圆之道，亦正米、董书法方贺之悟，所以“过予爱之”。此书是董其昌临本，所以流转与自运无别，一经着其作意书得秀色，于是淋漓翰墨，随意所如，更自起自倒，自收自束，自成体势，笔不能自休，以之书“先”为“圣”，少“观”多“庵”，一气呵成，书之雅逸扑人，熠熠夺目，堪称董书中神品，与米氏宋拓孤本正相映媲美，令人陶然入胜。董书喜用淡墨，但类此着意书往往为浓墨。又历来书家恨不见真迹，现在影印与真迹极度近，是一大快事。此帖因是真迹，或更宝于宋拓孤本。 李宗翰云：“米芾书《方圆庵记》年才三十三岁，正专学晋人之时，运笔能控引王羊，其他诸帖每以奇气掩其古法。因些，世人称此帖为米书第一。”此帖结体用“圣教序”，且兼用大令，褚河南两家之法。董其昌的临写过程不仅再现了米芾风神骏爽的神韵，而且在此基础上发挥国自己个性的他造。",[7,86,25,105,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1602f2b3800c830ac35c9871d04782.jpg",[328],{"id":30281,"slug":30282,"title":30283,"dynasty":189,"author":645,"museum":78,"description":30284,"tags":30285,"thumbUrl":30286,"material":1691,"size":30287,"collection":328,"collections":30288,"showCount":30060,"zanCount":1337,"manualWeight":48,"mainColor":94},220857,"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","元代对书法的重视不亚于前代，书法得到一定的发展。探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。在应用价值上来说，算得是最伟大的。故能自后汉相传至今，历久而弥新。《元·赵孟頫法书选——行书灵隐大川济禅师塔铭》为基中一本。\n《灵隐大川济禅师塔铭》卷系赵孟頫于杭州任上所书。有专家考证，此作书于大德十一年，即公元1307年，时年书家54岁。此卷书写工致，融右军、北海笔意于一炉，丰润间蕴含劲拔，一字一珠，是赵中年后极为纯熟的代表作品。后有元人虞集、黄溍、郑元祐等跋，曾经王世贞、徐渭仁等收藏。",[7,178,86,622,620,263,25,173,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纵34.4厘米，横408.9厘米",[328,2097],{"id":30290,"slug":30291,"title":30292,"dynasty":949,"author":3807,"museum":3808,"description":30293,"tags":30294,"thumbUrl":30295,"material":139,"size":139,"collection":139,"collections":30296,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},220567,"e-nao-xu-bei-hong-220567","鹅闹","这幅写意小品以淋漓笔墨勾勒群鹅嬉闹之景，淡墨晕染白羽，蓬松柔软，红喙红掌施以浓艳朱色，醒目跳脱，与素洁绒羽形成强烈视觉对比。群鹅姿态各异，前者引吭展翅，步履昂然，后者振翅疾追，将乡野间喧闹鲜活的瞬间定格。背景墨叶以大写意晕染，朦胧错落衬出沙地的柔和明净，笔意纵放间不失精微，把鹅的憨直率性尽数铺展，鲜活灵动的生机跃然纸面，将乡野闲趣揉进笔墨之中，形神兼备，尽显写意花鸟的动人意趣。",[7,23,173,27,400,7725,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd47f325de146d3f35c08e8b1cbe754.jpg",[],{"id":30298,"slug":30299,"title":30300,"dynasty":949,"author":3807,"museum":3808,"description":30301,"tags":30302,"thumbUrl":30305,"material":14232,"size":139,"collection":139,"collections":30306,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},220566,"xi-wo-hou-xu-bei-hong-220566","徯我后","焦土龟裂，流民褴褛。老者抬手极目远眺，干裂的唇畔似在发出喟叹，将渴盼化进焦灼的目光里；妇孺瘫倒在地，孱弱的身躯再也扛不住流离的苦楚。身旁水牛攒动，更衬出这方天地里的惶惶不安。\n\n沉郁的色调裹着悲怆，粗粝的笔触刻尽苦难。它借古抒怀，把乱世中人对救赎的祈盼，凝在每一道佝偻的背影里，每一双望穿秋水的眼眸中，是旧时代底层苍生呼号与热望的鲜活注脚。",[7,949,4419,8725,27,106,151,8729,34,30303,30304],"荒郊","写实风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a716ceb0b89b148d93f747fef75255.jpg",[],{"id":30308,"slug":30309,"title":30310,"dynasty":99,"author":30311,"museum":20,"description":30312,"tags":30313,"thumbUrl":30314,"material":123,"size":30315,"collection":181,"collections":30316,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},220373,"jiang-ge-yuan-tiao-tu-wang-e-220373","江阁远眺图","王谔","此图为设色人物山水，大江水云渺茫，靠岸边殿阁一座，阁上一人面向江左眺望，面前方几上设花瓶、香炉、果盘，二童子侍立，屋内一童点烛，一童托盒走来。阁前水边，大石，芦苇，小船一艇，一人伏卧船中，石上苍松古柏，石后山崖杂树，烟雾迷濛。大江对岸，山峦，屋宇，庙塔，一座城门女墙环山，绕成圆形，岸边停泊大小船二十余只，远山隐现在云海间。\n描绘楼阁吸取了南宋院体状物精微的写实风格而更加纤巧富丽，树石山崖取马远大斧劈皴法，水纹以墨线勾描，画法工细。",[7,209,23,24,1218,27,177,3019,107,1265,1365,111,2310,176,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4c9f65db6578d2b8f3b0006690a99f.jpg","纵143.2厘米，横229厘米",[181],{"id":30318,"slug":30319,"title":30320,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":30321,"thumbUrl":30322,"material":699,"size":4054,"collection":139,"collections":30323,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":94},220328,"huang-shan-tu-ce-3-hong-ren-220328","黄山图册-3",[7,23,24,173,177,81,29,30,107,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc1eb815cf62e85ff746ecaa76da231.jpg",[],{"id":30325,"slug":30326,"title":30327,"dynasty":18,"author":278,"museum":206,"description":30328,"tags":30329,"thumbUrl":30330,"material":123,"size":30331,"collection":181,"collections":30332,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[7,23,24,209,225,173,177,29,1775,1365,108,808,176,34,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[181],{"id":30334,"slug":30335,"title":30336,"dynasty":189,"author":4438,"museum":447,"description":29419,"tags":30337,"thumbUrl":30338,"material":123,"size":30339,"collection":181,"collections":30340,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},219783,"shan-zhong-guan-shu-tu-yi-sheng-mao-219783","山中观书图(一)",[7,23,464,27,28,177,29,106,1365,4272,1322,176,109,34,9402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca7bc079a6d5dcc5b4be19f4c16a7a.jpg","纵97.3横29.2",[181],{"id":30342,"slug":30343,"title":30344,"dynasty":189,"author":13710,"museum":447,"description":30345,"tags":30346,"thumbUrl":30347,"material":123,"size":30348,"collection":44,"collections":30349,"showCount":30060,"zanCount":48,"manualWeight":48,"mainColor":49},21956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[1] 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。 [2]\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[7,24,25,86,178,263,173,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d1f22c20897817f0de3feff1bc57dd.jpg",[328],{"id":30491,"slug":30492,"title":30493,"dynasty":76,"author":30494,"museum":311,"description":30495,"tags":30496,"thumbUrl":30497,"material":139,"size":139,"collection":139,"collections":30498,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},238135,"fang-ni-zan-shi-zi-lin-tu-juan-fang-cong-238135","仿倪瓒狮子林图卷","方琮","此作用淡墨铺展园居全景，开篇修竹扶苏，清韵悠悠，茅舍草堂错落其间，屋中有人凭案闲坐，庭前老木虬枝疏朗，衬出院落萧散简远。\n\n整卷笔墨极简，以干笔淡皴写就山石林木，线条清劲秀逸，全无繁冗之笔，承袭古淡空灵的笔意。留白疏阔，氤氲出静穆冷寂的古雅意境，将观者带入无人尘扰的幽居，坐看竹影摇窗、苔痕覆阶，尽显文人画的隐逸高致，笔底藏着天真古淡的林下之风，写尽园居清趣与幽人逸怀。",[7,23,24,25,173,244,105,107,175,226,384,176,115,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37103644d51d567e8b77eae43a2e67bb.jpg",[],{"id":30500,"slug":30501,"title":30502,"dynasty":99,"author":25790,"museum":20,"description":25791,"tags":30503,"thumbUrl":30504,"material":139,"size":139,"collection":139,"collections":30505,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":94},234208,"yin-zhong-ba-xian-tu-juan-li-shi-da-234208","饮中八仙图卷",[7,23,24,25,244,173,106,211,63,1641,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a2be7f38107d2f8b2db69666be51e8.jpg",[],{"id":30507,"slug":30508,"title":30509,"dynasty":18,"author":1699,"museum":311,"description":30510,"tags":30511,"thumbUrl":30512,"material":67,"size":30513,"collection":139,"collections":30514,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[7,209,23,24,25,29,177,27,557,107,34,175,1422,116,865,176,1365,468,434,9908,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],{"id":30516,"slug":30517,"title":30518,"dynasty":76,"author":30519,"museum":311,"description":30520,"tags":30521,"thumbUrl":30522,"material":699,"size":139,"collection":181,"collections":30523,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},231951,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-ceng-yan-dong-231951","七道子山水人物画册18帧","曾衍东","曾衍东生于清乾隆十五年（1750年），字青瞻，一字七如，号七如居士、七道士，祖籍山东嘉祥，为曾子第67代孙。清乾隆壬子（1792年）举人，清乾隆至道光年间画家、小说家、杂剧家。\n据嘉祥《曾氏祖谱》记载，其祖上在明代嘉靖十八年（1539年）被封为翰林院五经博士，并从此世袭爵位。曾衍东的父亲名尚渭，是个恩贡生，游宦江南，曾官居广东博罗县令。曾衍东自幼随父游走南北，童年的经历奠定了其开阔的胸襟，同时也开启了他坎坷飘荡的一生。\n他仕途坎坷，直至50岁迟暮之年由人举荐，才得任湖北江夏县令，后调任巴东县令。曾衍东个性清高、倔强。他曾在《日长随笔》里写道：“人所不能做的，我偏要做去，人所不能减的，我偏要减去。”依这种性格，他在中国官场的遭遇可想而知。63岁那年，因断案而触怒巡抚，而他坚持“此官可去案不移”，终被降罪罢官，流放温州。\n曾衍东携家小流放温州后，先住在同姓旧宦曾儒璋后人曾立亭的家中。曾立亭居温州郡西，其宅名“依绿园”。他念同姓之谊，款接曾衍东居园之“入画楼”。第二年曾衍东在园边宝庵桥附近一大榕树下自建房屋。这里面向九山湖，湖光山色正好，于是他把自己的居所命名“小西湖”。并在门上写了一副对联：“挂冠自昔曾骑虎，闭户于今好画龙。”\n嘉庆二十五年（1820），道光帝即位，曾衍东遇赦，但已贫老不得归乡，约十年后，客死于温州。\n曾衍东生性落拓不羁，工诗及书画，尤善画人物，市井风情、生活百态皆入其构中，举重若轻。在技巧上以笔墨狂放的写意风格取胜。镌图章，摩古出奇，得之者无不视为拱璧，然清贫自守。在近代画坛特别在人物画领域受曾衍东影响的画家有很多，比如王震和丰子恺。但是对他在画坛上地位的认识有所不足，因此当代著名画家程十发先生颇为其抱不平。他在曾衍东的一本人物册中写到：“七道士乃青藤（徐渭）后身，诗文词曲皆胜场，且从书画中与世俗相左而现风骚之气。余曰：近人不重曾衍东是一大遗憾也。”可以说推崇备至。",[7,23,24,81,173,106,150,263,178,86,1542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e31d6bfb1d8831f9c256406aa1f6a9e.jpg",[181,44],{"id":30525,"slug":30526,"title":30527,"dynasty":99,"author":10799,"museum":583,"description":30528,"tags":30529,"thumbUrl":30531,"material":139,"size":139,"collection":139,"collections":30532,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},228488,"he-tang-ju-qin-tu-li-zhou-lin-liang-228488","荷塘聚禽图立轴","画面将荷塘初秋意趣尽显，枯荷擎举、新花绽露，苇叶横斜交错，枯荣相生晕染出塘间清寂底色。\n水禽错落其间，水面鸳鸯两两相偎，翎毛细笔晕染，绒羽质感宛然；野禽振翅穿掠苇丛，飞燕斜划破空，动静交织间满溢鲜活生机。\n笔墨兼工带写，粗毫挥写苇茎残叶，苍劲朴拙；细笔勾勒禽鸟肌理，灵动传神。墨色浓淡铺陈层次，以极简水墨变化定格郊野塘间自在野趣，尽显纵逸清隽的花鸟意致。",[7,23,209,225,173,27,83,227,266,1628,3899,30530,400],"荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7d15347b6a2c9436b4b8172d7a7048.jpg",[],{"id":30534,"slug":30535,"title":30536,"dynasty":99,"author":10799,"museum":311,"description":30537,"tags":30538,"thumbUrl":30539,"material":139,"size":139,"collection":139,"collections":30540,"showCount":30465,"zanCount":1337,"manualWeight":48,"mainColor":49},228487,"kong-que-shuang-qi-tu-lin-liang-228487","孔雀双栖图","以水墨晕染禽鸟神姿，雄雀身姿舒展，尾羽以浓淡墨色递变，将翎羽华美的肌理尽皆铺展，纤毫毕现又不失写意疏朗。雌雀静立石台，憨态温婉，一动一静，恰似郊林里的闲趣日常。\n\n背景竹枝以阔笔挥就，竹叶苍劲有锋芒，枯石野草信笔点染，野逸之态尽显。整幅以墨代彩，摒弃敷色浓艳，依托干湿浓淡的层次变化，将院体花鸟的精致法度与文人写意的随性相融，勾勒出清寂悠然的林间一隅，尽显水墨花鸟的雅致意趣。",[7,23,173,400,225,83,297,226,283,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e88008dd1be325e91ec4e4e03a5df8e.jpg",[],{"id":30542,"slug":30543,"title":30544,"dynasty":99,"author":17700,"museum":311,"description":30545,"tags":30546,"thumbUrl":30547,"material":139,"size":139,"collection":139,"collections":30548,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":49},228364,"pi-lu-tu-zhou-chen-228364","辟纑图","此作取景分野有致，左幅铺陈烟水浩渺，林石隐现，漾出清旷空寂之境；右隅收拢于山居幽地，古松蟠虬，草堂依林而筑。\n笔墨承浙派风骨，山石斧劈皴利落苍硬，林木勾勒精细入微，敷色浅淡清和，衬出山林沉静底色。堂内主客对坐晤谈，侍女侧立随侍，将林下雅集的闲逸自适藏于方寸之间，山涧激流的动势与堂中悠然静气相融相生，尽显文人幽居林泉、寄情丘壑的雅致襟怀。",[7,23,27,28,177,29,106,34,558,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc9662f11c840147628ba2d5d2856d8.jpg",[],{"id":30550,"slug":30551,"title":1218,"dynasty":99,"author":25243,"museum":311,"description":30552,"tags":30553,"thumbUrl":30554,"material":139,"size":139,"collection":139,"collections":30555,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},228358,"shan-shui-hua-xi-gang-228358","近岸疏林错落，茅舍临水栖身，掩映于枝桠间，野趣悠然自生。空漾水面将视线缓缓引向后层浅渚山峦，岩岫以干笔淡墨皴擦，佐以淡赭晕染，山石肌理苍朴不失温润。远景峰峦层叠，林麓间隐约可见山道樵踪，整幅画面气脉贯通，以留白晕出水乡山居清寂萧散的意境。笔墨松灵秀雅，脱尽尘俗，以简淡勾勒出山川丘壑的幽隽之态，尽显静穆淡远的文人画旨趣，将江南山野的闲逸之景融于素雅水墨色调中，观之便如临其境，恍若置身林泉高致之间。",[7,23,173,177,29,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ee49a9b35bce4b0d7190224af61291.jpg",[],{"id":30557,"slug":30558,"title":30559,"dynasty":189,"author":13039,"museum":311,"description":30560,"tags":30561,"thumbUrl":30562,"material":139,"size":139,"collection":139,"collections":30563,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[7,209,23,24,25,27,244,106,150,86,178,263,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":30565,"slug":30566,"title":30567,"dynasty":18,"author":30568,"museum":311,"description":30569,"tags":30570,"thumbUrl":30571,"material":139,"size":139,"collection":139,"collections":30572,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[7,209,23,24,1352,27,28,106,107,59,285,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":30574,"slug":30575,"title":30576,"dynasty":76,"author":9090,"museum":311,"description":30577,"tags":30578,"thumbUrl":30579,"material":139,"size":139,"collection":139,"collections":30580,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[7,23,24,225,27,28,177,29,176,34,2137,1265,5957,1267,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":30582,"slug":30583,"title":30584,"dynasty":76,"author":4406,"museum":25575,"description":30585,"tags":30586,"thumbUrl":30587,"material":67,"size":30588,"collection":181,"collections":30589,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[7,23,24,225,27,177,29,7943,34,107,108,109,175,176,5535,468,4970,1082,560,475,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[181,163],{"id":30591,"slug":30592,"title":12305,"dynasty":76,"author":7940,"museum":311,"description":30593,"tags":30594,"thumbUrl":30595,"material":139,"size":139,"collection":139,"collections":30596,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[7,23,24,225,105,177,29,176,34,107,108,109,37,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":30598,"slug":30599,"title":30600,"dynasty":76,"author":2924,"museum":311,"description":30601,"tags":30602,"thumbUrl":30603,"material":139,"size":139,"collection":139,"collections":30604,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},224375,"hua-hui-qi-shi-ce-shi-er-kai-5-ju-lian-224375","花卉奇石册-十二开-5","此作以淡逸笔调铺陈案头清趣，湖石奇崛空灵，以写意皴擦勾勒出瘦透之姿，韵致古拙。旁侧方盆雅致，盆中花卉粉萼柔妍、翠叶莹润，没骨晕染将草木鲜活之态尽揽笔底，淡粉轻绿相映，娇而不艳。左下角拳松短针苍劲利落，与柔花顽石形成刚柔互衬。\n整幅画面留白疏朗，工写兼济，将文房清供的闲雅意趣晕染尽致，清隽静和的气息漫溢纸面，尽显雅致脱俗的文人意韵，草木生机融于案头幽寂，淡而有味。",[7,23,24,81,28,27,229,84,3790,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f869a343a57705320bea4f60deed39d.jpg",[],{"id":30606,"slug":30607,"title":30608,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":30609,"thumbUrl":30610,"material":2164,"size":2165,"collection":139,"collections":30611,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},224217,"xiao-rong-shi-ce-zhuan-shu-wu-chang-shuo-224217","小戎诗册篆书",[7,1163,86,81,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac50f5eaec7f55cb5dcad0fa1a75421.jpg",[],{"id":30613,"slug":30614,"title":30615,"dynasty":76,"author":21428,"museum":311,"description":30616,"tags":30617,"thumbUrl":30618,"material":139,"size":139,"collection":139,"collections":30619,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":94},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[7,23,24,209,225,28,27,83,7979,512,62,926,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":30621,"slug":30622,"title":30623,"dynasty":76,"author":1563,"museum":311,"description":30624,"tags":30625,"thumbUrl":30626,"material":139,"size":139,"collection":139,"collections":30627,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":94},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[7,23,225,27,173,83,402,226,229,370,263,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":30629,"slug":30630,"title":30631,"dynasty":76,"author":278,"museum":311,"description":30632,"tags":30633,"thumbUrl":30634,"material":139,"size":139,"collection":139,"collections":30635,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[7,23,25,27,28,104,106,107,115,34,136,5766,299,298,3790,176,59,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],{"id":30637,"slug":30638,"title":30639,"dynasty":76,"author":278,"museum":311,"description":30640,"tags":30641,"thumbUrl":30642,"material":40,"size":30643,"collection":139,"collections":30644,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},223551,"hai-tang-bai-tou-tu-yi-ming-223551","海棠白头图","绘蓝色湖石一块，形状凹凸有致；两枝海棠上下各一枝，枝上花朵或绽放，或含苞待放，红色的花朵鲜艳美丽，枝上两只白头翁相向而望，上面的扭头看着下面的那只，而下面也抬头呼应着上面鸟儿，二只鸟儿相亲相爱，活泼可爱。",[7,23,27,83,3202,67,1628,1353,229,84,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d21e5bf0b445cf9d0b9e44de9e88be.jpg","35.9x50.6cm",[],{"id":30646,"slug":30647,"title":30648,"dynasty":18,"author":278,"museum":20,"description":30649,"tags":30650,"thumbUrl":30651,"material":40,"size":30652,"collection":139,"collections":30653,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":49},223499,"za-ju-da-hua-gu-tu-ye-yi-ming-223499","杂剧(打花鼓)图页","图中绘二角色，皆为女子扮演，两人均作打拱状。左方一人头戴诨裹，有斗笠等道具置于地上，似为副净色；右方一人，头戴大红花，身着短对襟，干练精神，背后插一扇，上书末色二字，为副末色角色。此图是为数不多为宣传戏剧类的精品册页。",[7,209,23,24,81,28,27,106,210,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef48819eecf68aed6bd33519f2d6318.jpg","23.3x24",[],{"id":30655,"slug":30656,"title":30657,"dynasty":18,"author":278,"museum":206,"description":30658,"tags":30659,"thumbUrl":30660,"material":712,"size":30661,"collection":139,"collections":30662,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},223436,"song-shen-zong-hou-zuo-xiang-yi-ming-223436","宋神宗后坐像","本幅原属清宫南薰殿旧藏，画无款印，但画中人物相貌传神，洵非想像之作，而且用笔精准、赋色细腻，具备第一流的水准，应出自当时名家之笔。宋仁宗先后曾立两位皇后，其一为郭皇后，另一为慈圣光献曹皇后。由于郭后被废，故此像应系后者。画像中，非惟曹后身着的袆衣、钗冠华丽无伦，连身侧两名侍女，同样衣饰妍丽，满头簪花，与院藏仅绘皇后独自端坐的图像相比，显得格外高贵而出众。",[7,23,24,27,28,106,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3010254a80d6bfae8c42dd104ecd83.jpg","174.7x 116.7",[],{"id":30664,"slug":30665,"title":30666,"dynasty":76,"author":30667,"museum":206,"description":30668,"tags":30669,"thumbUrl":30670,"material":6350,"size":30671,"collection":181,"collections":30672,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[7,23,24,29,81,173,177,734,403,175,385,384,466,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","34.7x29厘米",[181,163],{"id":30674,"slug":30675,"title":30676,"dynasty":76,"author":2103,"museum":206,"description":11835,"tags":30677,"thumbUrl":30679,"material":3812,"size":30680,"collection":90,"collections":30681,"showCount":30465,"zanCount":1337,"manualWeight":48,"mainColor":94},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴",[7,23,24,225,27,28,286,30678,9249,4370,402,403,62,228,263],"盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","105.2x55.9厘米",[90,45],{"id":30683,"slug":30684,"title":30685,"dynasty":18,"author":30686,"museum":101,"description":30687,"tags":30688,"thumbUrl":30689,"material":27127,"size":30690,"collection":139,"collections":30691,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":49},222677,"san-tu-tu-gong-ji-222677","三兔图","龚吉","用笔清新雅致，有沈铨的艺术风格。作者龚吉，生卒年不详，疑似沈铨的弟子或再传弟子。",[7,209,23,24,2042,28,27,808,2234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aaa73b140b8a6a8d234f073fbfbadd6.jpg","67.3×40.6厘米",[],{"id":30693,"slug":30694,"title":8523,"dynasty":99,"author":862,"museum":206,"description":30695,"tags":30696,"thumbUrl":30697,"material":67,"size":30698,"collection":181,"collections":30699,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},222596,"xi-shan-xue-ji-tu-lan-ying-222596","画面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[7,23,27,177,29,2019,174,1542,865,1365,176,468,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[181,45],{"id":30701,"slug":30702,"title":30703,"dynasty":99,"author":862,"museum":583,"description":30704,"tags":30705,"thumbUrl":30709,"material":1271,"size":30710,"collection":181,"collections":30711,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[7,23,27,177,29,34,176,175,35,109,114,468,403,560,28112,1082,4969,1267,559,30706,30707,30708],"淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[181,163],{"id":30713,"slug":30714,"title":30715,"dynasty":99,"author":30716,"museum":56,"description":30717,"tags":30718,"thumbUrl":30719,"material":699,"size":30720,"collection":181,"collections":30721,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[7,23,24,25,173,29,177,34,176,109,37,263,939,5535,12141,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[181,163],{"id":30723,"slug":30724,"title":30725,"dynasty":99,"author":170,"museum":1529,"description":30726,"tags":30727,"thumbUrl":30728,"material":1691,"size":30729,"collection":139,"collections":30730,"showCount":30465,"zanCount":1337,"manualWeight":48,"mainColor":94},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[7,23,24,25,27,173,178,86,177,29,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":30732,"slug":30733,"title":30734,"dynasty":99,"author":817,"museum":206,"description":30735,"tags":30736,"thumbUrl":30737,"material":573,"size":30738,"collection":181,"collections":30739,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},221973,"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[7,23,27,177,225,29,176,34,1365,109,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[181,45],{"id":30741,"slug":30742,"title":6818,"dynasty":189,"author":30743,"museum":20,"description":30744,"tags":30745,"thumbUrl":30746,"material":30747,"size":30748,"collection":163,"collections":30749,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},221870,"zhu-shi-tu-zhou-xie-ting-zhi-221870","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[7,23,173,225,226,385,229,928,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0acf41e6dc1be49409c9c5df041b0e.jpg","绢本墨笔.","173.2cmx105.1cm",[163,1896],{"id":30751,"slug":30752,"title":30753,"dynasty":189,"author":9788,"museum":206,"description":30754,"tags":30755,"thumbUrl":30757,"material":712,"size":30758,"collection":181,"collections":30759,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[7,23,24,225,28,27,173,30756,3899,3019,283,1628,266],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg","149.7x62.7公分、全幅 90公分",[181,163],{"id":30761,"slug":30762,"title":30763,"dynasty":189,"author":7821,"museum":206,"description":30764,"tags":30765,"thumbUrl":30766,"material":409,"size":30767,"collection":163,"collections":30768,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},221831,"wan-xiang-gao-jie-zhou-ke-jiu-si-221831","晚香高节轴","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。\n此景物主要集中于下端：画幅下部画湖石，中间高出，两侧低矮，形成“山”字型。湖石为杂草点缀，右侧的杂草向右倾斜，左侧杂草向左倾斜。湖间有几簇修竹倚石生长，其中一株翠竹拔地而起，枝竿挺拔，竹节较长，枝叶茂密，顶天立地。另有野菊花倚石而长，花朵盛开于茎端。\n款识：五云阁吏为正臣作。\n虞集题：敬仲此幅，清楚出尘，真平日合作也。奎章阁侍书学士虞集题。\n弘历题：绿筠挺出苏卿节，黄菊喷来陶令香。何必其间论世代，忘年交合石渠藏。庚寅秋日御题。",[7,23,173,225,226,385,407,928,400,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549ad8c921d08b75438863fa146dd22.jpg","126.5厘米，横75.2厘米",[163,1896],{"id":30770,"slug":30771,"title":30772,"dynasty":18,"author":5793,"museum":1666,"description":7832,"tags":30773,"thumbUrl":30774,"material":699,"size":30775,"collection":139,"collections":30776,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},221606,"ku-mu-tu-liang-kai-221606","枯木图",[7,23,173,244,451,229,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6ccf2251cdf9d1af34e70cbbab5720.jpg","24.1×23cm",[],{"id":30778,"slug":30779,"title":30780,"dynasty":18,"author":9172,"museum":20,"description":30781,"tags":30782,"thumbUrl":30783,"material":3071,"size":30784,"collection":328,"collections":30785,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":255},221205,"shou-fu-tie-ye-wu-ju-221205","寿父帖页","吴琚“性嗜书”，学米芾能神似。此帖为其行书代表作之一，乃淳熙末年为官襄阳时谈论宦途境况的一封尺牍。《墨缘汇观》评为“初视之以为米书”。",[7,86,178,622,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42acbd1c8113c63f546b4b08295fa08c.jpg","纵32.9厘米，横48.9厘米",[328],{"id":30787,"slug":30788,"title":30789,"dynasty":18,"author":1677,"museum":206,"description":30790,"tags":30791,"thumbUrl":30793,"material":30794,"size":30795,"collection":139,"collections":30796,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},221179,"fang-chun-yu-ji-tu-ma-lin-221179","芳春雨霁图","《芳春雨霽圖》描繪荒野平溪，窠石疏林。枝上嫩葉初露，春意濃郁。遠方煙靄出沒，隱約可見。畫中怪石用斧劈皴，老樹用嚴謹的雙鈎填墨法，樹葉用淡褐色點染。全圖用筆瘦硬勁峭，構圖簡括，畫風學馬遠而又有自己的創新，為馬麟山水畫佳作。",[7,23,24,173,27,29,28,177,11043,30792,866,229,176,34,6384],"霁景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc250f3f66b0a8950d7b6bc515696ee5a.jpg","轴，绢本，浅设色","纵27．5厘米，横41．6厘米",[],{"id":30798,"slug":30799,"title":30800,"dynasty":54,"author":5714,"museum":20,"description":30801,"tags":30802,"thumbUrl":30803,"material":30804,"size":30805,"collection":328,"collections":30806,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},221150,"lan-ting-ba-zhu-tie-chu-sui-liang-221150","《兰亭八柱帖》","兰亭八柱帖属于历代丛帖。\n位于中山公园西南角。\n共8卷。\n清乾隆四十四年（1779）内府辑刻。\n此帖是集唐人王羲之《兰亭序》的摹本、明人董其昌和清乾隆的临本刻于一起的作品，计有：《虞世南摹兰亭序》、《褚遂良摹兰亭序》、《冯承素摹兰亭序》、《柳公权书兰亭诗》、《重摹董其昌所收》、《于敏中补缺文》、《董其昌临》和《清高宗弘历临》，各为一卷。\n每一卷刻于一方形石柱之上，再以此8柱建亭于圆明园。\n相关信息 咸丰十年（186）圆明园被焚后此亭石柱未毁，1917年被移至中山公园。\n2世纪7年代初中山公园修整开放前，重建此亭。\n石刻已多有漫漶。",[7,86,178,105,263,620,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fc06ca0857dbfef5b2d9e373eb55dd.jpg","乌金精拓","纵29．8厘米，横17.3厘米。",[328],{"id":30808,"slug":30809,"title":30810,"dynasty":99,"author":2494,"museum":20,"description":13058,"tags":30811,"thumbUrl":30812,"material":3713,"size":5635,"collection":139,"collections":30813,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},220915,"shan-shui-ce-9-dong-qi-chang-220915","山水册9",[7,23,24,81,173,29,177,865,176,3024,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c33f118062bda18bcde2cd0e0d405dc.jpg",[],{"id":30815,"slug":30816,"title":30817,"dynasty":189,"author":13710,"museum":206,"description":30818,"tags":30819,"thumbUrl":30820,"material":327,"size":30821,"collection":163,"collections":30822,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},220389,"yuan-an-wo-xue-tu-yan-hui-220389","袁安卧雪图","画面上天寒地冻，林木萧索，积雪封山。洛阳令乘坐牛车，带领仆从逶迤而来，在寒林掩映下的袁安屋舍前停下。一名随侍前行几步，手叩柴门。图中树石以墨染晕刷而成，人物衣纹则劲健多折，称得上是画中珍品。",[7,23,24,209,173,27,177,29,2019,865,176,106,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4bd070e278c143edef678f3376f82a5.jpg","本幅 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亦工诗、朽，著有《瓯香馆集》、《南田诗抄》。传世作品有《落花游鱼图》轴、《锦石秋花图》轴等。",[7,23,225,173,29,177,176,5891,1082,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[181,163],{"id":30862,"slug":30863,"title":30864,"dynasty":76,"author":30865,"museum":447,"description":30866,"tags":30867,"thumbUrl":30868,"material":88,"size":30869,"collection":181,"collections":30870,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},220078,"feng-dong-tu-ye-xin-220078","风洞图","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[7,23,1218,173,177,176,34,106,5967,1871,86,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[181],{"id":30872,"slug":30873,"title":30874,"dynasty":76,"author":17967,"museum":523,"description":30875,"tags":30876,"thumbUrl":30877,"material":699,"size":30878,"collection":181,"collections":30879,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},219991,"shan-jing-po-zhou-tu-dai-ben-xiao-219991","山径泊舟图","戴本孝（1621年－1691年），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代新安派画家之一。",[7,23,173,177,225,29,229,1365,107,174,22539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e7c0febcd0f56ffa4fd38b837a6abc.jpg","132cm×60cm",[181],{"id":30881,"slug":30882,"title":30883,"dynasty":18,"author":278,"museum":1098,"description":30884,"tags":30885,"thumbUrl":30886,"material":123,"size":139,"collection":44,"collections":30887,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},219561,"lv-chun-yang-tu-yi-ming-219561","吕纯阳图","画师以劲爽写意的铁线描勾勒身形，苍髯垂覆胸腹，青巾束发，赤足卓立。宽袍裹挟清癯身姿，双手交叠腹前，面容沉凝肃穆，尽显出尘孤高的仙家气度。衣纹顿挫老辣，落笔简劲朴拙，以水墨写意的意趣晕染出幽远仙风，简淡笔墨间不见繁饰，却将仙人超然世外的风骨凝练于绢素之上，古雅朴厚，寥寥数笔便让仙道意韵溢满画面，尽显古画写意人物的风神格调。",[7,23,24,225,243,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80f58a4357362068c7e3accb1c5f0ea0.jpg",[44],{"id":30889,"slug":30890,"title":30891,"dynasty":18,"author":278,"museum":206,"description":30892,"tags":30893,"thumbUrl":30894,"material":123,"size":30895,"collection":42,"collections":30896,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},218844,"zong-yin-xi-jing-tu-yi-ming-218844","棕荫习静图","这幅画描绘了一个高丘在棕榈树荫下的石凳上睡觉，旁边有蝴蝶在飞舞。这幅画中的人物是用减笔描写的，棕榈树和石凳也是用笔描写的，石夔和梁楷应该是学过的，但笔画太逼真，太露骨。这幅画的标题可以是：庄周梦蝶。",[7,23,173,81,106,34,226,400,9672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98ad217fdf5f3633a9235875c1c6e2cb.jpg","21x21.1",[42],{"id":30898,"slug":30899,"title":30900,"dynasty":18,"author":5270,"museum":206,"description":30901,"tags":30902,"thumbUrl":30903,"material":409,"size":139,"collection":163,"collections":30904,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":94},218685,"gu-mu-liu-quan-tu-ma-he-zhi-218685","古木流泉图","画面构景极简，古木枝干如老龙盘空，墨色浓淡晕染出苍劲生机。流泉隐于林麓，清越似穿疏枝而来。右侧空濛处轻羽掠过，留白铺展天地空阔，暗合宋画“虚处藏神”之妙。用笔兼工带写，线条含篆籀圆劲与行书灵动，皴擦间古木肌理毕现。留白与实景相衬，营造清寂悠远的林下之趣。简淡中见深致，尽显宋画文人意趣，观者仿佛闻泉声穿林，听鸟啼落梢，沉浸于那份与世隔绝的静谧禅意里。",[7,23,24,173,81,109,1423,866,229,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceaf0fdf52528f3e4d2f5c2edbd8b9b.jpg",[163],{"id":30906,"slug":30907,"title":11213,"dynasty":18,"author":1137,"museum":206,"description":30908,"tags":30909,"thumbUrl":11216,"material":123,"size":30911,"collection":90,"collections":30912,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":94},218678,"qiu-qing-cong-ju-tu-lin-chun-218678","晴光轻洒，簇簇秋菊绽于绢素间。瓣瓣舒展如凝霜，或嫩黄带暖，或素白含清，层叠纹理似能触到柔润质感。叶片墨色浓淡相宜，脉络隐现风中之姿，转折处藏着未褪的生机。圆形构图里，花枝错落有致，留白处似有余晖漫漾。笔触细腻却不刻意，设色温润清雅，将秋晴下菊的恬淡与灵动凝于方寸。仿佛能嗅到淡淡的菊香，随微风漫过画面，静享这秋日里的一抹雅致闲逸。每一处细节皆见匠心，把晴秋的清和与菊的风骨，悄然融于这一方团扇之中。",[7,209,23,24,28,27,83,407,30910,263],"秋","25x26.5",[90],{"id":30914,"slug":30915,"title":30916,"dynasty":18,"author":278,"museum":1406,"description":30917,"tags":30918,"thumbUrl":30919,"material":409,"size":30920,"collection":44,"collections":30921,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[7,23,24,25,244,173,243,106,8436,11064,4778,808,403,226,384,385,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[44],{"id":30923,"slug":30924,"title":30925,"dynasty":18,"author":30926,"museum":311,"description":30927,"tags":30928,"thumbUrl":30929,"material":123,"size":139,"collection":181,"collections":30930,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},218596,"gui-zhou-tu-yang-an-dao-218596","归舟图","杨安道","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[7,23,209,1352,27,29,174,21613,557,109,263,175,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg",[181],{"id":30932,"slug":30933,"title":30934,"dynasty":18,"author":278,"museum":3188,"description":30935,"tags":30936,"thumbUrl":30937,"material":123,"size":30938,"collection":44,"collections":30939,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":49},218461,"gao-shi-guan-shui-tu-yi-ming-218461","高士观水图","凭栏者凝眸向水，衣袂轻垂似与波痕共息。亭榭半掩于疏枝间，木构纹理隐现岁月静穆。秃枝如笔，蘸着空濛天色，在绢上勾勒清寂骨线；水面无波，却载千般思绪，与观者目光遥遥相契。通篇不着艳色，墨线浓淡交错，留白虚实相生，铺展文人心中丘壑——非喧嚣山水，是心与自然对语的片刻安宁。笔意简淡却藏深致，枯枝的疏朗、亭台的稳静、高士的凝思，织就一幅含蓄的精神图景，让千载后的目光，仍能触到那份清寂中的悠远。",[7,23,173,244,104,4850,106,107,109,865,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea1f9bda4c7207655fc3e8783405b61.jpg","21.6x24.6cm",[44],{"id":30941,"slug":30942,"title":30943,"dynasty":99,"author":2146,"museum":447,"description":3457,"tags":30944,"thumbUrl":30945,"material":123,"size":3460,"collection":139,"collections":30946,"showCount":30465,"zanCount":2209,"manualWeight":48,"mainColor":49},218340,"ren-wu-gu-shi-ce-8-tang-yin-218340","人物故事册-8",[7,23,24,81,27,106,865,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9969d448648f46bca858bf599be098f6.jpg",[],{"id":30948,"slug":30949,"title":30950,"dynasty":76,"author":278,"museum":311,"description":30951,"tags":30952,"thumbUrl":30953,"material":123,"size":139,"collection":139,"collections":30954,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":49},216714,"hong-lou-meng-fu-tu-ce-8-yi-ming-216714","红楼梦赋图册-8","山石错落间，粉艳花簇点缀，绿意轻缠石畔。一女子彩衣立石侧，凝睇花影；另一人红衣闲坐石前，姿态悠然。远处屋宇半隐，草木葱茏，水光依稀，晕开清宁之境。画面设色柔婉，线条细腻，将红楼场景的雅致闲情藏于笔底。人物神情含蓄，景物相映成趣，尽显古典园林的清幽意韵与闺阁间的温婉情致，似截取书中一段静谧时光，让观者在柔美的画面里，触到那份属于红楼的细腻与诗意。",[7,23,27,28,106,59,229,369,226,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c11c867ee2dca3bab7da81bc83a524a.jpg",[],{"id":30956,"slug":30957,"title":30958,"dynasty":18,"author":278,"museum":78,"description":30959,"tags":30960,"thumbUrl":30961,"material":139,"size":139,"collection":42,"collections":30962,"showCount":30465,"zanCount":48,"manualWeight":48,"mainColor":30963},201746,"xi-shan-tu-juan-yi-ming-201746","溪山图卷","画面峰峦层叠，皴染结合的山石质感浑厚，如剑戟般刺破云雾。轻烟似纱缠绕峰谷，虚实相生间拓展空间纵深。山间林木葱茏，墨色浓淡交错尽显苍劲生机；溪畔屋舍隐现，与流水、舟楫相映，添了几分人间烟火气。远处水天相接，朦胧远山若隐若现，整体意境悠远静谧，尽显宋代山水画的雅致与深邃。",[23,29,25,173,177,37,176,1082,468,4970,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e50403cbfddbda8fae18d4254da81a2.jpg",[42],"82786f",{"id":30965,"slug":30966,"title":21099,"dynasty":76,"author":16965,"museum":311,"description":30967,"tags":30968,"thumbUrl":30969,"material":2164,"size":2165,"collection":139,"collections":30970,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},290000,"zhu-shi-tu-li-zhou-li-fang-ying-290000","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[7,209,23,24,225,173,226,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],40,{"id":30973,"slug":30974,"title":30975,"dynasty":18,"author":24816,"museum":311,"description":30976,"tags":30977,"thumbUrl":30978,"material":2164,"size":2165,"collection":139,"collections":30979,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[7,209,23,24,25,104,27,29,107,10280,109,557,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],{"id":30981,"slug":30982,"title":30983,"dynasty":18,"author":3884,"museum":206,"description":30984,"tags":30985,"thumbUrl":30986,"material":123,"size":30987,"collection":42,"collections":30988,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},289351,"qiu-pu-rong-bin-tu-cui-bai-289351","秋浦蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鶺鴒腾跃，翡翠踞，两鸿雁振翅凌空，意在千里。",[7,23,83,28,27,266,404,227,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77dda06caf7a56f83b18a435258e2305.jpg","149.1x95.5",[42],{"id":30990,"slug":30991,"title":30992,"dynasty":204,"author":2028,"museum":311,"description":30993,"tags":30994,"thumbUrl":30996,"material":2164,"size":2165,"collection":139,"collections":30997,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},288362,"yu-le-tu-juan-jing-hao-288362","渔乐图卷","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[7,209,23,25,173,29,867,108,109,176,34,735,30995],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0672ea030382358d7cd79b172143a3.jpg",[],{"id":30999,"slug":31000,"title":1238,"dynasty":204,"author":28466,"museum":206,"description":28467,"tags":31001,"thumbUrl":31002,"material":2164,"size":2165,"collection":139,"collections":31003,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},288263,"mu-dan-tu-teng-chang-you-288263",[7,209,23,24,225,27,83,28,369,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df52c67747442a7481301f56b33a898.jpg",[],{"id":31005,"slug":31006,"title":31007,"dynasty":99,"author":278,"museum":311,"description":31008,"tags":31009,"thumbUrl":31010,"material":2164,"size":2165,"collection":139,"collections":31011,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},288159,"ku-teng-lao-shu-tu-li-zhou-yi-ming-288159","枯藤老树图立轴","此作用笔苍劲老辣，以枯墨皴擦出古松嶙峋老干，虬曲枝桠如铁戟森然，松针攒簇细密，尽显饱经风霜的古拙意气。冷月高悬，淡墨晕染出空濛清辉，将夜色的荒寒铺陈开来。坡石旁丛竹挺秀疏朗，瘦劲枝叶与苍松相映，刚柔互济。全画以水墨写就，浓淡相宜，淡墨晕染出空寂夜色，浓墨勾勒筋骨，萧疏静谧间，尽显林下幽居的孤高意趣，暗合寄情林泉、不与俗伍的文人心境。",[7,23,225,173,1423,866,226,229,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07026ed6aab10adbe73f7f746e3383.jpg",[],{"id":31013,"slug":31014,"title":31015,"dynasty":99,"author":817,"museum":20,"description":31016,"tags":31017,"thumbUrl":31018,"material":9524,"size":31019,"collection":139,"collections":31020,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[7,23,24,25,173,178,105,263,406,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纵28厘米,横62.5厘米",[],{"id":31022,"slug":31023,"title":31024,"dynasty":18,"author":323,"museum":31025,"description":31026,"tags":31027,"thumbUrl":31028,"material":9888,"size":31029,"collection":139,"collections":31030,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":629},232615,"nian-nu-jiao-chi-bi-huai-gu-huang-ting-jian-232615","念奴娇·赤壁怀古","武氏墓群石刻博物馆","黄庭坚《念奴娇·赤壁怀古》，武氏墓群石刻博物馆藏。武氏墓群石刻博物馆位于山东省嘉祥县，是全国第一批重点文物保护单位，以收藏着大量东汉时代武氏墓群的石刻文物而闻名于世。《念奴娇·赤壁怀古》全文的四块石刻，每块刻石均长方形，按石刻拓片每块约高 35cm、宽101cm。\n一、苏东坡是北宋大文豪，千古传颂，世界闻名。《念奴娇·赤壁怀古》词为其重要代表作，脍炙人口。黄庭坚亦乃诗词书法大名家。故此刻石当是珠联璧合的“苏黄”双绝，文化价值、历史价值、文物价值皆珍贵异常。\n二、黄庭坚书写东坡此词，说明两人不同一般的师生情谊，也折射出黄庭坚对苏词之推崇。\n三、刻石完整保留了至今已难得一见的黄庭坚墨宝真迹，而且是一幅长达百字的巨作，笔力遒劲，跌宕起伏，晋风唐韵，龙飞凤舞，一如行云流水，恰似东坡豪迈词意，酣畅淋漓，气象磅礴，雄浑壮美。《三希堂法帖》有黄氏20件墨宝，却缺此件。\n四、此词系东坡谪居黄州游赤壁时所写的千年名篇，流传甚广，而版本各异。黄庭坚作为苏轼门下，自身当时就是著名词人，故其墨迹堪称原始版本，足以作为诸版本之校勘依据。",[7,86,178,620,25,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e0349f0fe749f5ac5eba8fa71d1f19.jpg","35cm、宽101cm",[],{"id":31032,"slug":31033,"title":552,"dynasty":18,"author":12612,"museum":311,"description":31034,"tags":31035,"thumbUrl":31036,"material":139,"size":139,"collection":139,"collections":31037,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},228422,"zao-chun-tu-zhao-bo-su-228422","此作为典型南宋青绿山水，以石青石绿晕染山峦，敷色浓丽雅致，尽显华贵宋韵。长卷铺展平远山水，烟波横江裹挟春润雾气，层叠峰岫间茂林修竹错落，汀洲村舍、临江楼阁疏密排布，舟楫泛于碧水，仿佛能窥见江风拂过早春的清寂暖意。画面将山水与苑居景致相融，兼具自然灵秀与人工精巧，晕开江南早春独有的温润朦胧。卷后题跋与鉴藏朱印次第排列，墨痕与印色相映，让画作在清雅之外，更添流传千载的厚重书卷意蕴，尽显宋人的山水审美与文人雅趣。",[7,209,23,24,25,26,27,29,107,34,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641d8a14375683a70a41699d825928db.jpg",[],{"id":31039,"slug":31040,"title":25672,"dynasty":189,"author":18509,"museum":311,"description":31041,"tags":31042,"thumbUrl":31043,"material":139,"size":139,"collection":139,"collections":31044,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},228270,"feng-yu-gui-zhou-tu-fang-cong-yi-228270","以水墨晕染铺就漫天雨雾，峰峦在烟岚中若隐若现，焦墨勾勒的山石苍劲朴拙，与朦胧水汽形成虚实对照。孤舟扬帆穿雨而归，渺小的舟楫在浩渺烟雨中衬出江湖寥廓，暗合归人冒雨赶路的匆匆意绪。\n近景以淡墨点染丛木，斜逸的松树带着风雨飘摇之姿，呼应着满幅湿冷雨意。整幅画作以留白晕染营造空濛苍茫氛围，将山野骤雨之景绘得灵动写意，把江南雨中山水的空寂清冷与旅人归思相融，尽显元代文人山水空灵简远的意趣。",[7,23,173,29,177,174,384,37,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18e3d81d317532706d52b707a3c30e9.jpg",[],{"id":31046,"slug":31047,"title":31048,"dynasty":189,"author":3051,"museum":311,"description":31049,"tags":31050,"thumbUrl":31051,"material":139,"size":139,"collection":139,"collections":31052,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},228016,"xiao-niao-tu-tuan-shan-qian-xuan-228016","小鸟图团扇","此作截取清秋小景，斜出的桂枝缀着苍润绿叶，细碎黄花藏于叶底，似有暗香悠悠溢出。枝头的白头鹎栩栩如生，白羽如凝雪覆于头颈，青灰背羽晕染出柔和层次，尖喙微张，仿佛正啼鸣于凉秋。\n\n画家以淡墨晕染底色，设色清隽雅致，未作繁复勾勒，只以轻染淡彩便将花鸟形神尽数描摹，尽显幽淡闲远的文人意趣。尺幅团扇间，将秋日清寂里的鲜活生机定格，把山野寻常小景晕染成充满诗意的刹那剪影，笔底带着松弛闲散的文人情思，淡而有味，雅韵悠长。",[7,209,23,24,1352,27,83,2850,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ab02594b013a2f743dbd67a5ec0c06.jpg",[],{"id":31054,"slug":31055,"title":31056,"dynasty":18,"author":2297,"museum":311,"description":31057,"tags":31058,"thumbUrl":31059,"material":139,"size":139,"collection":139,"collections":31060,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":49},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[7,23,209,24,25,28,27,177,6545,808,384,866,1003,468,266,86,263,176,3711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":31062,"slug":31063,"title":31064,"dynasty":18,"author":708,"museum":311,"description":31065,"tags":31066,"thumbUrl":31067,"material":139,"size":139,"collection":139,"collections":31068,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},227727,"song-xi-fan-yue-tu-ye-xia-gui-227727","松溪泛月图页","《松溪泛月图》页，南宋，夏圭，绢本设色，24.7×25.2cm，北京故宫博物院藏。\n\n夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。",[7,209,23,24,81,173,177,29,403,285,174,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8343726fb542a41407b3b3bf085bb.jpg",[],{"id":31070,"slug":31071,"title":28043,"dynasty":204,"author":2114,"museum":311,"description":28044,"tags":31072,"thumbUrl":31073,"material":2164,"size":2165,"collection":139,"collections":31074,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":49},226154,"xie-sheng-zhen-qin-quan-juan-huang-quan-226154",[7,28,27,25,1904,83,370,940,3690,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea7bbb08ea8dee423e5e1bfd185218.jpg",[],{"id":31076,"slug":31077,"title":9244,"dynasty":76,"author":9090,"museum":311,"description":31078,"tags":31079,"thumbUrl":31080,"material":139,"size":139,"collection":139,"collections":31081,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},224592,"pan-tao-tu-zou-yi-gui-224592","此作取瑞祥之意，笔墨清妍雅致。丹顶鹤仙骨清奇，翎毛皴染细致，墨线勾出纤毫肌理，雪衣朱顶立于苍岩，石畔灵芝添幽趣。古桃枝夭矫横斜，硕实饱满，胭脂晕染果皮，将桃实鲜活温润之态尽显，枝叶敷色鲜亮，满目生机。飞瀑轻垂，晕开空山幽寂之境，左上题诗补白，让文思画意相融。画面疏密相宜，工致兼具文雅，将吉庆绵长的寓意藏于笔底，满卷悠然仙气，尽抒福寿安康的美好祈愿。",[7,23,28,27,263,60,9248,176,466,9249,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7350a1afd655bc04aa623e85fabbe12d.jpg",[],{"id":31083,"slug":31084,"title":31085,"dynasty":76,"author":963,"museum":311,"description":31086,"tags":31087,"thumbUrl":31088,"material":139,"size":139,"collection":163,"collections":31089,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[7,23,24,25,173,177,178,86,29,30,558,34,1265,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[163],{"id":31091,"slug":31092,"title":31093,"dynasty":76,"author":2924,"museum":311,"description":31094,"tags":31095,"thumbUrl":31096,"material":139,"size":139,"collection":139,"collections":31097,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},224374,"hua-hui-qi-shi-ce-shi-er-kai-3-ju-lian-224374","花卉奇石册-十二开-3","此作笔致秀润恬和，淡墨勾皴湖石，奇崛古拙，空灵苍润间尽显嶙峋意趣。素盆秋菊柔色轻绽，嫩蕊鲜妍和素净瓷盆相映，晕开一室清雅文气。\n\n角落散落的花生、坠果带着日常烟火意趣，石畔小兽探头轻觑，为幽寂的文房清供添上灵动野趣。整体设色浅淡明净，衬着绢底古雅底色，将文人闲居的恬淡意兴融于尺幅，工写兼济间，把清供小品的雅静与鲜活日常交织，尽显平淡天真的悠然情致。",[7,23,24,81,28,27,83,229,407,228,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b4da7d3931604a708831e97b24647c.jpg",[],{"id":31099,"slug":31100,"title":31101,"dynasty":76,"author":7882,"museum":311,"description":31102,"tags":31103,"thumbUrl":31104,"material":139,"size":139,"collection":139,"collections":31105,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},224244,"yuan-ji-shi-yi-tu-gai-qi-224244","元机诗意图","《清改琦元机诗意图》是中国清代画家 创作的一幅人物画。\n此图画的是唐代女诗人 的。\n鱼玄机是个很有才华，而遭遇却很不幸的人，她大约生于844年，卒子871年，字幼微、蕙兰，清代时因避康熙玄烨的讳改称为鱼元机。\n嫁给李忆为妾，因受李妻的妒忌，被迫出家，在长安咸宜观做了女道士。\n由于喜读书，有才思，擅作诗，受到当时文人们的重视，温庭筠等名家常与她作诗唱和。\n后因忌妒笞杀侍婢绿翘，被判死刑，其时年仅二十多岁。\n留有诗文一卷。\n此图设色古雅，衣纹秀劲，玄机倚坐展卷。\n姿容秀美，含蓄深思，刻画传神。\n改琦(177-1828)字伯蕴，号香白，或作香伯，又号七芗，别号玉壶外史。\n先世为西域人，祖为松江参将，遂占籍为华亭（今上海松江）人。\n通敏多能，善书画，人物画出入李公麟、赵孟頫、唐寅及陈洪绶，花草兰竹小品迥出尘表，叉善画佛像，人以新罗山人相比，为清代中叶画坛名家。\n工诗词，曾与钦善、姜皋等结课诗词，辑《泖东诗课》。",[7,23,24,27,28,106,59,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125f440623b2edc344cb81826355bd02.jpg",[],{"id":31107,"slug":31108,"title":3243,"dynasty":76,"author":3676,"museum":311,"description":31109,"tags":31110,"thumbUrl":31111,"material":139,"size":139,"collection":139,"collections":31112,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":94},224218,"shan-shui-zhou-wu-chang-shuo-224218","此作以高远章法铺陈，主峰雄踞上部，以篆隶笔法入皴，枯涩苍劲的线条勾勒山石肌理，朴拙雄浑间尽显厚重金石气。下半幅山林幽居藏于层林之中，屋舍错落临溪而建，溪桥横陈，枯木与青柯相映。\n\n水墨间晕染淡赭、花青，为清秋山林添上柔和暖意。题诗与画境呼应，将隐逸山居的静穆雅逸，融于雄朴的笔墨之中，把林泉高致的清隽滋味藏于苍辣笔意内，尽显冲淡高古的文人意趣，是典型的文人山水风貌。",[7,23,225,173,27,177,24,29,108,109,35,865,1365,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eab5e3cd8b5a1741b2652c294477895.jpg",[],{"id":31114,"slug":31115,"title":31116,"dynasty":18,"author":278,"museum":311,"description":31117,"tags":31118,"thumbUrl":31120,"material":139,"size":139,"collection":139,"collections":31121,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":94},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[7,209,23,24,4850,28,27,83,924,31119,759,263],"红蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],{"id":31123,"slug":31124,"title":31125,"dynasty":18,"author":278,"museum":206,"description":31126,"tags":31127,"thumbUrl":31131,"material":712,"size":31132,"collection":139,"collections":31133,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":94},223380,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223380","千手千眼观世音菩萨轴","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，祂的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[7,209,23,24,225,243,28,27,106,19556,31128,245,31129,3191,266,3861,63,4636,7386,31130],"千眼","佛光","众神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd2c18bc7d656864bb8c7ad6a86782a.jpg","176.8x79.2",[],{"id":31135,"slug":31136,"title":31137,"dynasty":76,"author":31138,"museum":206,"description":31139,"tags":31140,"thumbUrl":31141,"material":139,"size":139,"collection":181,"collections":31142,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},222851,"hua-qiu-si-ming-quan-zhou-ai-xin-jue-luo-yong-rong-222851","画秋寺鸣泉轴","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[7,23,24,225,27,177,29,9908,15753,108,109,34,176,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa9f2b95b9bde32a8dedfb17b22ed5c.jpg",[181,45],{"id":31144,"slug":31145,"title":31146,"dynasty":99,"author":27096,"museum":78,"description":31147,"tags":31148,"thumbUrl":31149,"material":841,"size":31150,"collection":181,"collections":31151,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},222838,"qiu-ling-shan-quan-tu-xiao-yun-cong-222838","秋岭山泉图","萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。这种淡远无尘、清墨涩笔创作出来的超然冷寂澹泊的境界，是逸的真实表述。萧云从的山水画在历史上之所以为众人推崇，即在于其反映生活的“真”和“美”。",[7,23,24,225,27,173,29,176,109,466,34,1365,2137,35,106,177,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777621cf6ec8952e48ae2dbb0be5b7fc.jpg","165cmx45.6cm",[181,45],{"id":31153,"slug":31154,"title":31155,"dynasty":76,"author":522,"museum":6249,"description":31156,"tags":31157,"thumbUrl":31158,"material":527,"size":31159,"collection":90,"collections":31160,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},222673,"xiong-ji-tu-zhou-huang-shen-222673","雄鸡图轴","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[7,23,24,225,173,27,86,4760,926,2137,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纵124.6厘米，横59.8厘米",[90,45],{"id":31162,"slug":31163,"title":31164,"dynasty":99,"author":862,"museum":206,"description":30704,"tags":31165,"thumbUrl":31166,"material":573,"size":31167,"collection":139,"collections":31168,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},222584,"fang-fan-kuan-zuo-ping-jiu-shu-lan-ying-222584","仿范宽坐凭樛树",[7,23,24,29,27,177,176,34,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6086be9329befee0f8455f19c8930b7.jpg","72.6x60.8厘米",[],{"id":31170,"slug":31171,"title":31172,"dynasty":99,"author":31173,"museum":31174,"description":31175,"tags":31176,"thumbUrl":31177,"material":21783,"size":31178,"collection":328,"collections":31179,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},222538,"wu-yan-lv-shi-si-shou-juan-wang-duo-222538","五言律诗四首卷","王铎","无锡市博物馆","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[7,86,2570,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bfad7f5c9832225ba8082013f88182.jpg","纵31cm，横238cm",[328],{"id":31181,"slug":31182,"title":31183,"dynasty":99,"author":100,"museum":78,"description":31184,"tags":31185,"thumbUrl":31186,"material":40,"size":31187,"collection":181,"collections":31188,"showCount":30971,"zanCount":1104,"manualWeight":48,"mainColor":49},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[7,209,23,24,25,28,27,104,106,59,150,34,107,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[181,45],{"id":31190,"slug":31191,"title":31192,"dynasty":99,"author":10306,"museum":206,"description":10307,"tags":31193,"thumbUrl":31194,"material":527,"size":31195,"collection":44,"collections":31196,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":94},222067,"wu-liang-shou-fu-wu-bin-222067","无量寿佛",[7,23,24,27,28,243,106,1554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7f98a1d50d1025e8caff57fb63c78c.jpg","62.3x35.3",[44,45],{"id":31198,"slug":31199,"title":31200,"dynasty":99,"author":817,"museum":20,"description":31201,"tags":31202,"thumbUrl":31203,"material":1488,"size":31204,"collection":181,"collections":31205,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[7,23,108,109,29,734,282,384,36,173,400,225,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[181,163],{"id":31207,"slug":31208,"title":31209,"dynasty":99,"author":936,"museum":311,"description":31210,"tags":31211,"thumbUrl":31212,"material":40,"size":31213,"collection":44,"collections":31214,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},221897,"lao-chi-xiang-li-zhou-chen-hong-shou-221897","老迟像立轴","此幅为陈洪绶的自画像，画上老迟盘腿坐于地上，身着宽袖长袍，蓄长须，手执某种花朵置于鼻下闻味；背后湖石形状奇特，前方一小童烧火烤似灵芝一样的东西。陈洪绶，号老莲，晚号老迟，明末清初著名书画家、诗人。",[7,23,209,225,28,244,27,106,229,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52772eece37edbf9b7da25588c5bae5.jpg","95x51cm",[44,45],{"id":31216,"slug":31217,"title":31218,"dynasty":189,"author":645,"museum":20,"description":31219,"tags":31220,"thumbUrl":31221,"material":4130,"size":31222,"collection":181,"collections":31223,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},221871,"ou-bo-ting-tu-zhao-meng-fu-221871","欧波亭图","鸥波亭为赵孟頫夫妇游息吟咏之所，据现传世著录赵一生曾多次创作以鸥波亭为题材的作品。有《鸥波亭图》(明张丑着《书画见闻表一卷》·五)、《鸥波亭图轴》(清李佐贤着《书画鉴影二十四卷》二○·一)、《赵松雪管仲姬合作鸥波亭图轴》(清邵松年着《古缘萃录十八卷》二·六)。此图正是邵松年载录的《鸥波亭图》，作于元大德八年(1304)甲辰春三月，时赵孟俯50岁，管仲姬42岁，乃精心合写神妙之作。赵孟俯白描人物并写柏树及楼台、山石，管仲姬为其补写大片白描双勾新篁，伉俪合作，珠联璧合，堪称“二美”。故弥足珍贵。",[7,23,24,225,27,2352,106,107,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4dccc8fa8bf432c5b115720e7b83061.jpg","纵117厘米，宽54厘米",[181,45],{"id":31225,"slug":31226,"title":31227,"dynasty":189,"author":19012,"museum":20,"description":31228,"tags":31229,"thumbUrl":31230,"material":2465,"size":31231,"collection":181,"collections":31232,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":49},221819,"feng-le-lou-tu-xia-yong-221819","丰乐楼图","作者采用对角构图法，用水墨界画殿阁山水，线条纤如毫发，背景远山平缓润泽，开阔的水面与依依杨柳恰到好处地交待出建筑处于江南的环境。展观其作品，方寸之间微入毫芒，画家再现了宏大建筑的整体和细部，技艺精湛超凡，令人叹服。\n此幅构图之用笔与故宫藏夏永另几幅界画作品如出一辙。丰乐楼为为南宋都城临安著名的大酒楼之一。地处涌金门外西湖岸边。作品所取材的“丰乐楼”早已不存，夏永极度写实的画风以及右上以“小如蚁目”的蝇头小楷题写的31行“十里挲平丰乐楼”长题，无疑成为今天了解这座在宋代杭州曾颇有声名的楼阁的重要史料。",[7,23,24,104,244,29,107,34,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844d7f5926052f741a315b41c30867db.jpg","纵25.8厘米，横25.8厘米",[181,163],{"id":31234,"slug":31235,"title":31236,"dynasty":189,"author":2996,"museum":206,"description":31237,"tags":31238,"thumbUrl":31239,"material":327,"size":31240,"collection":163,"collections":31241,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[7,209,23,24,225,173,244,28,226,385,229,177,4472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[163,1896],{"id":31243,"slug":31244,"title":13290,"dynasty":189,"author":31245,"museum":101,"description":31246,"tags":31247,"thumbUrl":31248,"material":1271,"size":31249,"collection":181,"collections":31250,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":49},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","姚廷美","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[7,23,1218,177,27,7577,176,865,114,108,467,34,119,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 54cm",[181,45],{"id":31252,"slug":31253,"title":31254,"dynasty":189,"author":3051,"museum":101,"description":31255,"tags":31256,"thumbUrl":31259,"material":9791,"size":31260,"collection":44,"collections":31261,"showCount":30971,"zanCount":1337,"manualWeight":48,"mainColor":49},221712,"fu-zui-tu-juan-qian-xuan-221712","扶醉图卷","描绘的是东晋著名隐士陶渊明喝酒的故事。画中共三人：酒后面露醉态的陶渊明，醉眼朦胧，坦胸露肚，一手倚扶于竹榻之上，一手作摆手送客状。右侧的客人对着陶渊明双手作揖，面容恭谨，作告辞状；白衣老仆欲引客人离去。一边的地面上陶制的酒罐、酒盆和瓷器的酒杯洒落一地，杯盘狼藉。",[7,23,24,25,27,28,2352,106,211,63,3157,6353,67,15231,6351,31257,8782,31258,14868],"人物互动","线条细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ccffb9f1d8c8a7d08362296a28da33.jpg","纵28厘米，横49.5厘米",[44,45],{"id":31263,"slug":31264,"title":31265,"dynasty":18,"author":3051,"museum":206,"description":31266,"tags":31267,"thumbUrl":31268,"material":841,"size":31269,"collection":90,"collections":31270,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":94},221706,"san-shu-tu-zhou-qian-xuan-221706","三蔬图轴","画塘上有乾隆帝题：秋圃真香。钱选（约1235-1307前），字舜举，浙江吴兴人。工诗，善书画，与赵孟俯同为“吴兴八俊”之一。",[7,23,27,28,11481,11917,12753,284,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ac9cca7755d4ddbdc81bfe39278a07.jpg","97.6x47.4cm",[90,45],{"id":31272,"slug":31273,"title":31274,"dynasty":189,"author":31275,"museum":56,"description":31276,"tags":31277,"thumbUrl":31278,"material":699,"size":31279,"collection":328,"collections":31280,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},221685,"shu-wang-an-shi-za-shi-juan-quan-juan-xian-yu-shu-221685","书王安石杂诗卷全卷","鲜于枢","书王安石杂诗四首：《题侍郎山水》、《招约之职方并示正甫书记》、《示元度》、《奉酬约之见招》。全卷600余字，书于至元二十八年（公元1291年）。时鲜于枢36岁，正值书艺旺盛时期，故书气恢宏，骨力劲健，圆转流畅，表现了鲜于枢极深的书 * 力。",[7,24,86,25,178,173,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a218ba9122cc9b248081e8fb15f101.jpg","纵50厘米 横1025厘米",[328],{"id":31282,"slug":31283,"title":31284,"dynasty":18,"author":4966,"museum":20,"description":31285,"tags":31286,"thumbUrl":31287,"material":1691,"size":24036,"collection":42,"collections":31288,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[7,23,24,25,173,27,29,108,109,229,866,175,266,177,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg",[42,181,163],{"id":31290,"slug":31291,"title":31292,"dynasty":18,"author":31293,"museum":20,"description":31294,"tags":31295,"thumbUrl":31297,"material":40,"size":31298,"collection":44,"collections":31299,"showCount":30971,"zanCount":1337,"manualWeight":48,"mainColor":94},221416,"fang-che-tu-juan-wang-ju-zheng-221416","纺车图卷","王居正","《纺车图》是北宋画家 所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 。",[7,23,25,28,27,106,5738,8652,31296,228,34,807,16789,65],"纺车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc3f7fb767d3a2e83a5bc151e376253.jpg","纵26.1厘米，横69.2厘米",[44,45],{"id":31301,"slug":31302,"title":31303,"dynasty":18,"author":746,"museum":311,"description":31304,"tags":31305,"thumbUrl":31306,"material":699,"size":139,"collection":328,"collections":31307,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},221305,"tian-ji-wu-yun-tie-you-cheng-song-yang-tie-su-shi-221305","天际乌云帖又称嵩阳帖","《天际乌云帖》又称《嵩阳帖》，苏轼诗文一章，行书，真迹曾由明代项元汴收藏，清归翁方纲，有翁氏题跋。共三十六行，计三百零七个字。藏处不详。\n此帖无年款，据清翁方纲所考，苏轼有《常润道中，有怀钱唐，寄述古五首》之作，其次章有“去年柳絮飞时节，记得金笼放雪衣”句，并自注云：“杭人以放鸽为太守寿。”此正是帖中所言陈太守放营妓周韶事，杭人称誉之。因周韶诗中有“开笼若放雪衣女”事，正应放鸽为寿。此在熙宁五、六年间事。翁氏又考苏诗外集有《过潍州驿，见蔡君谟题诗壁上云：“绰约新娇生眼底，逡巡旧事上眉尖。春来试问愁多少，得似春潮夜夜添。不知为谁而作也?和一首》。此事在苏轼自密州移徐州之际，即在熙宁九年苏轼潍州度岁时。翁氏即猜此帖在熙宁十年书。然诗与帖又有矛盾：帖云“仆在钱塘”见“堂前小阁中壁上”书蔡君谟“绰约新娇”诗，而诗云：“过潍州驿，见蔡君谟题诗壁上云：‘绰约新娇……'。”二者必有一伪。再，《苏文忠公诗编注集成总案》又载苏轼《题蔡君谟诗草》云：“此蔡君谟—《梦中》—诗,真迹在济明家，笔力遒劲。”并自署为“元皊五年十月四日”。此是苏轼知杭州事，距初悴杭州又十五、六年时间。这又留下一个可猜想的余地。但帖中“仆在钱塘”云云，书此帖时必不在钱塘。因之，断为熙宁十年左右较合理。然翁氏在帖考中又云此帖书颇类《满庭芳词——为王长官作》和《上清宫词》书。前者书于元丰六年，后者书于元皊二年。因此断定在熙宁十年至元皊二年这十年之间。此又平添一重疑难也。\n翁氏收藏此帖后，又引起了是否钧填本的争论。因存世苏书钩填本很多，而此帖纸质擦损严重，“有二一描失处”，故疑之。但翁氏肯定说这是真迹本，并将此帖与《快雪堂帖》刻本逐一比较，而断定《快雪堂帖》刻本所据乃为董其昌记载所见之摹本。在没有寻找到更多的证据前，我们尊重翁氏之论，也是有道理的。",[7,86,178,25,622,24,173,263,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9cd5f10698a081bf325106fa748e07.jpg",[328],{"id":31309,"slug":31310,"title":31311,"dynasty":18,"author":278,"museum":206,"description":31312,"tags":31313,"thumbUrl":31315,"material":123,"size":31316,"collection":42,"collections":31317,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[7,23,209,225,83,28,27,370,926,31314,263],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[42,181,163],{"id":31319,"slug":31320,"title":31321,"dynasty":54,"author":278,"museum":20,"description":31322,"tags":31323,"thumbUrl":31325,"material":139,"size":31326,"collection":328,"collections":31327,"showCount":30971,"zanCount":1337,"manualWeight":48,"mainColor":49},221091,"da-bao-ji-jing-juan-di-san-shi-er-jin-zi-da-zang-jing-yi-ming-221091","大宝积经卷第三十二金字大藏经","此作用磁青纸为底，泥金小楷书就，靛蓝如深谧夜幕，金墨似碎钻凝光，视觉上庄雅夺目。唐人小楷结体端秀匀整，笔力圆劲内敛，通篇数十万字无一疏怠，法度谨严，尽显写经人奉持恭谨之心。\n整卷铺展如星河长流，暗合经文肃穆禅意，泥金历千年依旧煌煌夺目，纸色沉穆古雅。它既彰显了唐代佛教文化的鼎盛，也展现出彼时写经技艺的巅峰水准，笔墨间饱含虔诚的信仰之力，是书法工艺与宗教内核完美融合的传世瑰宝。",[7,243,86,5152,621,31324,25,5153],"金字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49a439abffbf08cf2ebbe49e194dbbd.jpg","30x886",[328,2097],{"id":31329,"slug":31330,"title":31331,"dynasty":99,"author":2494,"museum":20,"description":13058,"tags":31332,"thumbUrl":31333,"material":3713,"size":5635,"collection":139,"collections":31334,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},220914,"shan-shui-ce-8-dong-qi-chang-220914","山水册8",[7,209,23,24,81,173,177,29,866,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496907c0f9c739e3dc2561042f92a439.jpg",[],{"id":31336,"slug":31337,"title":31338,"dynasty":99,"author":2494,"museum":20,"description":13058,"tags":31339,"thumbUrl":31340,"material":3713,"size":5635,"collection":139,"collections":31341,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},220912,"shan-shui-ce-6-dong-qi-chang-220912","山水册6",[7,23,173,177,81,29,734,384,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d454b71b8d54a070f37dccb8b6aedc.jpg",[],{"id":31343,"slug":31344,"title":31345,"dynasty":189,"author":645,"museum":222,"description":31346,"tags":31347,"thumbUrl":31349,"material":699,"size":139,"collection":163,"collections":31350,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[7,209,23,24,25,173,178,177,226,385,31348,229,263],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[163,1896],{"id":31352,"slug":31353,"title":31354,"dynasty":76,"author":31355,"museum":222,"description":31356,"tags":31357,"thumbUrl":31358,"material":409,"size":31359,"collection":181,"collections":31360,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[7,23,173,25,86,263,177,29,176,34,466,1087,1265,37,468,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[181],{"id":31362,"slug":31363,"title":31364,"dynasty":189,"author":278,"museum":206,"description":31365,"tags":31366,"thumbUrl":31367,"material":173,"size":31368,"collection":163,"collections":31369,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},219961,"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[7,23,173,177,86,263,29,866,108,109,229,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[163],{"id":31371,"slug":31372,"title":1979,"dynasty":99,"author":16887,"museum":5803,"description":31373,"tags":31374,"thumbUrl":31375,"material":123,"size":31376,"collection":181,"collections":31377,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},219941,"han-jiang-du-diao-tu-zhu-duan-219941","朱端，是以粗放笔墨为特色的浙派后期代表性画家之一，其山水师法戴进等浙派早期名家，后溯源两宋，尤其马夏画法为重，本图是以雪景山水作品，水墨绢本，略带淡彩，有明显梁楷、牧溪笔意，构图空旷，笔意悠远，体现作者内心渴望的一种寂静与禅意。此作曾为曼殊院旧蔵品，现存于东京国立博物馆。",[7,23,209,24,225,173,177,29,174,1542,865,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e54c1695abeb8054da50fc4026f2a3.jpg","171.9×109.0cm",[181],{"id":31379,"slug":31380,"title":15436,"dynasty":76,"author":1215,"museum":20,"description":15438,"tags":31381,"thumbUrl":15440,"material":123,"size":31382,"collection":181,"collections":31383,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":49},219747,"du-fu-shi-yi-tu-wang-shi-min-219747",[7,23,24,25,1218,173,27,226,34,176,468,108,175,109,229],"纵39厘米，横25.5厘米",[181],{"id":31385,"slug":31386,"title":14887,"dynasty":99,"author":3869,"museum":447,"description":31387,"tags":31388,"thumbUrl":31389,"material":123,"size":139,"collection":90,"collections":31390,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},219746,"song-ying-tu-lv-ji-219746","吕纪（1439年-1505年），字廷振，号乐愚，鄞（今浙江宁波）人。明代院体花鸟画家。",[7,23,24,28,27,83,403,4451,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ac887d96b6abbbb34b17fc5d912f97.jpg",[90],{"id":31392,"slug":31393,"title":31394,"dynasty":99,"author":12570,"museum":20,"description":31395,"tags":31396,"thumbUrl":31397,"material":173,"size":31398,"collection":181,"collections":31399,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},219206,"wei-wu-kuan-zuo-shan-shui-tu-du-qiong-219206","为吴宽作山水图","此图绘深山幽谷，溪桥流水，林木草屋，极为森藐悠远。构图饱满繁密，用笔秀润苍健，画风慎密清逸，格调高远古朴，意境深邃澹然。",[7,23,173,177,225,29,34,176,109,174,108,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3d1b0e984c125a383b3b438fdff855.jpg","纵108.2cm，横38.2cm",[181],{"id":31401,"slug":31402,"title":31403,"dynasty":189,"author":278,"museum":8896,"description":31404,"tags":31405,"thumbUrl":31407,"material":123,"size":31408,"collection":45,"collections":31409,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[7,209,23,24,27,28,6545,808,384,9573,31406,928,734],"原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[45],{"id":31411,"slug":31412,"title":31413,"dynasty":76,"author":19726,"museum":20,"description":31414,"tags":31415,"thumbUrl":31416,"material":123,"size":31417,"collection":90,"collections":31418,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":49},218524,"cang-qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-218524","苍秋岚飞瀑图轴","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[7,209,23,225,29,27,177,176,1080,109,34,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd631dc13de2e69a5451abd4d5af28756.jpg","纵184cm，横117.7cm",[90],{"id":31420,"slug":31421,"title":31422,"dynasty":76,"author":278,"museum":132,"description":31423,"tags":31424,"thumbUrl":31425,"material":123,"size":31426,"collection":181,"collections":31427,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":94},218093,"huang-cun-du-shu-yi-ming-218093","荒村独尌","这幅画主要描写了荒凉的村庄和孤独的农夫生活。表达了农民面对贫穷和困难时的悲惨心情。该画中使用了许多自然形象，如荒芜的田野、萧条的树木、寂寞的河流等，来描绘出农民贫困的生活环境。",[7,23,225,173,27,29,866,226,35,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2315df54f03804acdb72342539551.jpg","94x44.6cm",[181],{"id":31429,"slug":31430,"title":1462,"dynasty":99,"author":31431,"museum":132,"description":31432,"tags":31433,"thumbUrl":31434,"material":88,"size":31435,"collection":181,"collections":31436,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":49},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[7,23,173,29,209,225,108,109,30,34,6627,1967,86,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[181],{"id":31438,"slug":31439,"title":31440,"dynasty":99,"author":278,"museum":447,"description":3650,"tags":31441,"thumbUrl":31442,"material":88,"size":139,"collection":139,"collections":31443,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":94},217951,"ming-ren-shan-shui-hua-ce-si-yi-ming-217951","明人山水画册(四)",[7,23,173,81,177,29,174,34,5967,557,175,2310,966,403,33,3711,2647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65090f9ae3fb49fb75219114df41c63.jpg",[],{"id":31445,"slug":31446,"title":6694,"dynasty":76,"author":278,"museum":311,"description":31447,"tags":31448,"thumbUrl":31449,"material":123,"size":31450,"collection":44,"collections":31451,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":49},217061,"luo-han-tu-yi-ming-217061","罗汉图是清朝时期的一张著名图画。这张图画描绘了一个罗汉，也就是佛教中的一种超凡脱俗的人物。罗汉图通常都会描绘罗汉坐在一个莲花座上，并且脸部表情非常平静。罗汉图被认为是一张具有深刻哲学意义的图画，它可以帮助人们思考人生、审视自己内心世界的问题。",[7,23,27,28,243,106,1365,176,84,1628,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0f92db8d3a95be73cc37fc1f75a538.jpg","63x39",[44],{"id":31453,"slug":31454,"title":31455,"dynasty":76,"author":278,"museum":1098,"description":31456,"tags":31457,"thumbUrl":31458,"material":409,"size":31459,"collection":44,"collections":31460,"showCount":30971,"zanCount":2209,"manualWeight":48,"mainColor":94},214914,"qian-dai-jun-chen-gu-shi-tu-yi-ming-214914","前代君臣故事图","前代君臣故事图是清朝时期的一幅条幅式绘画，其中描绘了前代君臣的故事。这幅画作品的画家是清朝时期的一位佚名画家。\n\n前代君臣故事图中描绘了许多传说中的君臣人物，如唐朝的李靖、西汉的范蠡、周朝的车骑将军等。这些君臣人物均以其忠心耿耿、才华横溢的形象呈现在画面中，并以细腻精巧的线条勾勒出了他们的肖像。\n\n在前代君臣故事图中，这些君臣人物被描绘成温厚谦逊、不畏权势、敬畏天命的英雄人物。他们不仅身经百战、深谙军事，而且还具有极高的政治才能，深受皇帝信任。\n\n前代君臣故事图是清朝时期一幅非常著名的绘画作品，其中所描绘的君臣人物形象鲜活生动，富有感染力，对后代的绘画艺术具有重要的影响。",[7,23,24,25,244,173,106,150,263,621,15996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ae494934b6299c2afccbf637aa0c5c.jpg","24.1x299.4",[44],{"id":31462,"slug":31463,"title":31464,"dynasty":3895,"author":278,"museum":311,"description":31465,"tags":31466,"thumbUrl":31468,"material":624,"size":31469,"collection":139,"collections":31470,"showCount":30971,"zanCount":48,"manualWeight":48,"mainColor":49},214311,"deng-zhou-she-li-ta-xia-ming-yi-ming-214311","邓州舍利塔下铭","这座塔铭的形式为圆形柱础，直径80.5厘米，厚13厘米；竖铭由14行组成，共13个字，全铭154个字的楷书，刻在石板中央，排列成方形。该塔铭的书法风格融合了汉代和北魏的风格，楷书精致有力，典雅大方，节奏感强，书法功底深厚。",[7,620,86,621,243,5406,31467],"隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75c73203388b50e52164530ccf72203.jpg","80.5x80.5",[],{"id":31472,"slug":31473,"title":31474,"dynasty":277,"author":278,"museum":311,"description":31475,"tags":31476,"thumbUrl":31477,"material":2164,"size":2165,"collection":139,"collections":31478,"showCount":31479,"zanCount":2209,"manualWeight":48,"mainColor":94},289580,"yin-lu-yin-lu-fo-xiang-yi-ming-289580","尹魯引路佛像","此作为镂空雕版佛造像，线条洗练古拙，菩萨身姿端丽舒展。宝冠垂缨，璎珞环身，神情恬和悲悯。天衣飘带如流云舒卷，绕身缠回，将静穆佛身衬出灵动仙气。左手执引幡，右手轻捻莲茎，双足踏莲，背光隐现，莲台素雅净洁。\n\n漏空留白恰似梵境虚渺，粗粝纸色晕开古旧禅意，整体造型庄重不失飘逸，尽显引路菩萨慈悲接引之态，静穆间暗含渡化的温柔力量。",[7,243,8567,4636,2158,244,4173,1554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80aeedc119fca7203c8deff4d8155074.jpg",[],39,{"id":31481,"slug":31482,"title":13290,"dynasty":18,"author":553,"museum":311,"description":12981,"tags":31483,"thumbUrl":31484,"material":2164,"size":2165,"collection":139,"collections":31485,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},289446,"xue-shan-xing-lv-tu-guo-xi-289446",[7,23,1218,173,177,2019,7577,865,466,175,467],"https:\u002F\u002Foss.chuangqi.sto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金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 [1] ）。明代中期文學家、書畫家、戲曲家、軍事家。\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三 。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。",[7,209,23,24,25,86,2570,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[328],{"id":31552,"slug":31553,"title":31554,"dynasty":1483,"author":5503,"museum":20,"description":31555,"tags":31556,"thumbUrl":31557,"material":699,"size":5508,"collection":328,"collections":31558,"showCount":31479,"zanCount":2209,"manualWeight":48,"mainColor":94},239551,"zhong-qiu-tie-juan-wang-xian-zhi-239551","中秋帖卷","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[7,209,23,24,25,2570,86,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2f29d78cce5184152131f558be9eff.jpg",[328],{"id":31560,"slug":31561,"title":31562,"dynasty":189,"author":278,"museum":311,"description":31563,"tags":31564,"thumbUrl":31565,"material":67,"size":31566,"collection":139,"collections":31567,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},232834,"xiang-long-luo-han-tu-zhou-yi-ming-232834","降龙罗汉图轴","画面以深褐底色晕染出幽寂古雅的氛围，层次错落有致。罗汉虬髯凸目，身披蟒纹僧衣，神态威严沉静，正凝神注视下方寒潭。侍童躬身持器静立，蛟龙潜于潭水之间，身姿灵动矫健，水纹与神将周身的焰光相映，烘托出张力满溢的降伏瞬间。\n线条刚劲凝练，设色沉厚古朴，工笔描摹精细入微，将罗汉的威严、龙神的灵动与护法的雄浑刻画尽致，尽显佛教绘画肃穆庄严的神性，亦饱含古雅厚重的丹青意趣。",[7,23,27,243,106,433,225,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1a0ed0944d2fd736dbeef598ee2e00.jpg","150X68厘米",[],{"id":31569,"slug":31570,"title":1214,"dynasty":76,"author":7940,"museum":20,"description":31571,"tags":31572,"thumbUrl":31579,"material":1691,"size":31580,"collection":139,"collections":31581,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},231511,"xian-shan-lou-ge-tu-wang-hui-231511","此画描绘的是长松高岭，溪水村舍。由画中题识可知此画是一幅贺寿之作。画中以两株粗朴茂盛的参天巨松压轴，寓意常青不老。画面的远景是连绵的山岭，水溪从山中流出，至低处汇成大河，在山水林木的环抱中隐约可见幽静的楼阁。此画在笔墨表现上宗法黄公望，峰峦层叠，树从浓郁，勾线空灵，苔点细密，皴笔干湿浓淡相映衬，皴擦点染兼用。此画的用墨明洁苍润，得自于董其昌的影响，这幅画气厚力陈，显示王时敏深厚的笔墨功力。\n王时敏的绘画，受到董其昌文人画和“南北宗”理论的极大影响，其作大多致力于摹古，强调以笔墨图式来营造山水结构。他早年师从于董其昌，以古代名家的真还作为临摹粉本，并不局限于一家而习。王时敏的绘画追求平淡天真、苍秀隽逸，重视笔墨中所表达的逸气，即“文人气”。他强调在描绘客观事物的同时，仍要注重心灵抒发和精神表现，这与董其昌及其所提倡的“南北宗”论不谋而合。纵观南宗的文人画脉络，从五代董源、巨然到宋代李成、范宽，苒到元代的黄公望、吴镇、倪瓒、王蒙等，无一不注重文人的内在学识与修养。\n王时敏最大的艺术特点就是“摹古”，注重“笔墨”的运用，以临摹古代名家作品作为绘画的基础。尤其在研习宋元山水作品中的运笔、用墨、造型、结构等各方面时，主张摹古而不拘泥于古人之法，经过摹古举习，结合自身的文化修养，再重新进行艺术创造。王时敏的山水作品早年严格遵照董其吕及南宗各家的艺术风格，形态上比较细腻清秀，如《仿倪瓒山水图轴》等。到了中期，他开始脱离董其昌的笔意，醉心于对黄公望的学习，在这一时期，王时敏个人风格开始逐步形成，如《秋山白云图》《丛林曲涧图轴》等作品皆为代表。晚期则以康熙元年（1662)王时敏71岁为分界点，这一时期其绘画融众家之长于一炉，以黄公望为宗，上溯董源、巨然等南宗诸家，笔墨苍劲浑厚，风格沉稳雄坚，如《仙山楼阅图》《仿杜甫诗意图册》等。",[7,23,1218,104,30405,31573,8396,28166,107,31574,31575,31576,177,173,2352,31577,31578],"高岭","山岭","大河","巨松","贺寿","常青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c9e00824c0726216aa5aa68aa095974.jpg","133.2cmx63.3cm",[],{"id":31583,"slug":31584,"title":31585,"dynasty":99,"author":16949,"museum":206,"description":31586,"tags":31587,"thumbUrl":31588,"material":88,"size":31589,"collection":181,"collections":31590,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[7,23,27,28,263,29,2279,734,282,114,34,10496,13000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[181],{"id":31592,"slug":31593,"title":31594,"dynasty":76,"author":3388,"museum":311,"description":31595,"tags":31596,"thumbUrl":31598,"material":139,"size":139,"collection":139,"collections":31599,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},230975,"hua-guo-tu-xu-gu-230975","花果图","虚谷《花果图》轴，正如其好友杨逸所言：“落笔冷隽，蹊径别开”（《海上墨林》），独具清俊冷峭、静寂虚和的风姿，亦狂亦狷，奇奇怪怪，不事规模陈迹，纯是胸中盘郁。\n款识“鉴中老和尚清玩”，书风一如其画之清隽，图中种种绝俗之物，正应清玩之题，同时暗示了老和尚清俊绝尘的修为与品味。\n所钤“虚谷书画”一印系著名篆刻家徐三庚 所刻，有学者根据虚谷用印推断作品所在时期，认为此印或为虚谷1876-1887这十年间所用，则此画大约作于这一时期，当时画家多在苏州。\n大致可推测，虚谷此图作于1876-1887这十年中，当时他多活动于苏州一带，即为苏州僧人鉴中作此图，一直流传至今，其尺幅、楮墨及品相皆可圈可点。\n虚谷三十岁以后弃戎出家，广泛往来于上海、扬州、苏州等地鬻画为生，他虽“不茹素，不礼佛”，却与众多方外友人维持着良好的关系。\n他与苏州寺院的关系尤为密切，《寒松阁谈艺琐录》的作者张鸣珂结识虚谷即由狮林寺僧诺瞿邀约所致，尝为瑞莲寺画《瑞莲放参图》，为光福古铜佛寺画《古铜佛寺图》，且一度担任狮林寺的住持，退居后到与狮林寺有法系关系的石壁寺养老，并葬于此。\n至于为鉴中所作除了《花果轴》，尚有《瑞莲放参图》。\n鉴中的题跋，曾出现在顾澐为顾曾寿（字子长，号棱伽山民）所作《惟德堂图》后，同卷后有苏州文人书画家顾澐、潘锺瑞、刘履芬、顾文彬、潘遵祁众多题跋，鉴中题后钤有“释日升”、“鉴中”二印，由是可知“日升”即鉴中法名，以及鉴中与晚清苏州文坛、画坛的交往。\n虚谷这一时期侨居苏州为多，与鉴中和尚结缘绝非偶然，故先后以《瑞莲放参图》、《花果轴》相赠。\n此图所写皆案头清供：画面主体写一长瓶，上有老梅数丛，挺拔如剑，右下角配以三丛偃枝，古奥奇绝。\n传统梅干交叉法皆恪守“女”字形的原则，虚谷画梅是自出机轴，不尽拘此绳墨。\n花瓣利用底色以粉点出，附以红色花萼加以烘托，为梅干的古拙平添几分生趣。\n虚谷自作咏梅诗云：“无端白雪落沙来，古本疏枝上粉苔。\n似雪似花花似雪，梅花又向雪中开。\n”写寒梅之高洁，亦可为此清供之梅传神。\n丛梅左侧陪衬了些许松枝，松针逸笔草草却不乏韵致。\n瓶下右侧则有佛手一枝二果，以破墨画叶，墨彩清润浑厚；又有连根百合二枚；前有红柿一枚，反复渲染，隐隐透出红晕，亦各尽其妙。\n瓶后露出如意半枝，是为改变花瓶左侧垂直线的单调而加，使画面显得更为和谐、丰富。\n（182-1896），安徽新安（今歙县）人。\n清代画家， 。\n俗姓朱，名怀仁，移居江苏广陵（今扬州）。\n初任清军参将，后出家，名虚白字虚谷，号倦鹤、紫阳山民。\n以字竹，室名觉非庵、古柏草堂、三十七峰草堂。\n不茹素，不礼佛，也“从不卓锡僧寺”，往来于上海、苏州、扬州一带，卖画为业，是“海上画派”杰出代表人物。\n他携笔墨、着僧装，“闲中写出三千幅,行乞人间作饭钱”，云游四海，清贫于世却笔墨人间，他行程之广、画作之多，己为当时罕见。\n他承古创新，另辟捷径，广集素材，勤奋垦作，终成一代巨擘。\n早年学界画，后以擅画花果、禽鱼、山水著名。\n风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。\n亦能诗，有《虚谷和尚诗录》。\n传世作品有《梅花金鱼图》、《松菊图》、《葫芦图》、《蕙兰灵芝图》、《枇耙图》等。",[7,23,27,83,407,31597,228],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d67027df7898465725f2bb0928bb54d.jpg",[],{"id":31601,"slug":31602,"title":31603,"dynasty":76,"author":31604,"museum":311,"description":31605,"tags":31606,"thumbUrl":31607,"material":139,"size":139,"collection":139,"collections":31608,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},230192,"jiu-long-tu-ce-zhou-xun-230192","九龙图册","周璕","此作以水墨晕染铺就翻涌云海，虚实掩映间神龙破云而出。画师以浓淡变幻的墨色烘托出混沌氤氲的云气，将龙身隐没在烟岚之中，仅露威严龙首与遒劲鳞爪，藏头露爪间尽显神龙幽渺难测的神秘感。\n\n龙首刻画工细，眉须戟张，目光沉凝威严，鳞爪筋骨苍劲有力，与泼墨晕染的朦胧云海形成鲜明虚实对比。干湿浓淡的笔墨层次丰富，将神龙腾云的磅礴气势与云雾翻卷的空茫意境相融，尽显神兽潜藏天地间的慑人神威，把东方神龙的灵韵威严藏于烟云万象之中，是水墨绘龙的精妙之作。",[7,23,24,81,173,433,808,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e5ab036e4a2b558af5a0323993952a.jpg",[],{"id":31610,"slug":31611,"title":31612,"dynasty":99,"author":12697,"museum":311,"description":31613,"tags":31614,"thumbUrl":31615,"material":139,"size":139,"collection":139,"collections":31616,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[7,23,24,25,173,29,177,86,178,734,282,34,108,109,175,266,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":31618,"slug":31619,"title":31620,"dynasty":99,"author":100,"museum":311,"description":31621,"tags":31622,"thumbUrl":31623,"material":139,"size":139,"collection":139,"collections":31624,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[7,26,27,28,25,24,178,29,106,174,109,175,34,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":31626,"slug":31627,"title":31628,"dynasty":99,"author":936,"museum":583,"description":31629,"tags":31630,"thumbUrl":31631,"material":139,"size":139,"collection":139,"collections":31632,"showCount":31479,"zanCount":2209,"manualWeight":48,"mainColor":49},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[7,23,24,225,28,27,244,106,5728,3609,865,229,26888,176,34,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":31634,"slug":31635,"title":31636,"dynasty":18,"author":278,"museum":311,"description":31637,"tags":31638,"thumbUrl":31639,"material":139,"size":139,"collection":139,"collections":31640,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[7,23,24,25,173,29,177,109,174,557,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":31642,"slug":31643,"title":31644,"dynasty":18,"author":278,"museum":206,"description":31645,"tags":31646,"thumbUrl":31647,"material":302,"size":31648,"collection":139,"collections":31649,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},227850,"xiao-ting-ying-xi-tu-ye-yi-ming-227850","小庭婴戏图页","《小庭婴戏图》是宋代所画的人物画。作者不详，一说是陈宗训所作。中国台北故宫博物院藏。",[7,23,209,24,81,28,27,106,384,228,9044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1dbcffc9191793f4866baf2ef744a0c.jpg","纵26厘米，横25厘米",[],{"id":31651,"slug":31652,"title":730,"dynasty":18,"author":12612,"museum":311,"description":31653,"tags":31654,"thumbUrl":31655,"material":139,"size":139,"collection":139,"collections":31656,"showCount":31479,"zanCount":2209,"manualWeight":48,"mainColor":49},227695,"chun-shan-tu-juan-zhao-bo-su-227695","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[7,209,23,24,25,26,27,29,28,177,557,34,1087,108,109,118,35,37,10496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":31658,"slug":31659,"title":9905,"dynasty":204,"author":2585,"museum":222,"description":19820,"tags":31660,"thumbUrl":31661,"material":139,"size":139,"collection":139,"collections":31662,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},227597,"xi-shan-lan-re-tu-ju-ran-227597",[7,23,24,29,225,173,177,734,34,9908,468,114,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":31664,"slug":31665,"title":31666,"dynasty":18,"author":3253,"museum":311,"description":31667,"tags":31668,"thumbUrl":31669,"material":139,"size":139,"collection":139,"collections":31670,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},227536,"wan-ai-tu-wen-tong-227536","晚霭图","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[7,23,24,25,173,177,29,30,34,770,31,174,266,865,1265,3710,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":31672,"slug":31673,"title":4312,"dynasty":54,"author":4313,"museum":311,"description":31674,"tags":31675,"thumbUrl":31677,"material":139,"size":139,"collection":139,"collections":31678,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},227095,"gao-yi-tu-sun-wei-227095","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[7,209,23,25,28,27,106,384,385,86,263,228,3609,15230,31676],"垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":31680,"slug":31681,"title":31682,"dynasty":76,"author":1563,"museum":311,"description":31683,"tags":31684,"thumbUrl":31685,"material":139,"size":139,"collection":139,"collections":31686,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},224188,"hua-niao-cao-chong-tu-ba-07-hua-yan-224188","花鸟草虫图八-07","此作用淡墨晕染湖石，皴擦间尽显苍润空寂之态，以清劲白描勾勒水仙，线条秀挺舒展，将花瓣柔润、叶片修长的风姿尽数铺展，尽显水仙冰姿玉骨的清逸之态。左上角题以行书小诗，书画相融，文气盎然。\n\n整体笔墨简淡清隽，不着浓艳，却将水仙的幽绝尘姿诠释得淋漓尽致，淡墨湖石与素白水仙相映，营造出出尘空寂的氛围，尽显文人画独有的清雅意趣，笔简意足，韵致悠长。",[7,23,173,28,81,177,229,405,12037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e33e35df1057ef9012851ceb54ab5.jpg",[],{"id":31688,"slug":31689,"title":18553,"dynasty":76,"author":278,"museum":311,"description":31690,"tags":31691,"thumbUrl":31692,"material":139,"size":139,"collection":139,"collections":31693,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[7,23,24,25,26,27,28,29,557,34,35,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":31695,"slug":31696,"title":31697,"dynasty":76,"author":278,"museum":206,"description":31698,"tags":31699,"thumbUrl":31700,"material":139,"size":139,"collection":44,"collections":31701,"showCount":31479,"zanCount":2209,"manualWeight":48,"mainColor":49},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[7,23,24,28,27,106,34,176,114,1871,4140,967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[44,45],{"id":31703,"slug":31704,"title":31705,"dynasty":99,"author":278,"museum":20,"description":31706,"tags":31707,"thumbUrl":31710,"material":40,"size":31711,"collection":139,"collections":31712,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[7,23,24,25,27,26,28,29,1422,7943,31,7258,34,1871,31708,38,31709],"聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":31714,"slug":31715,"title":31716,"dynasty":76,"author":1744,"museum":311,"description":2695,"tags":31717,"thumbUrl":31718,"material":712,"size":139,"collection":328,"collections":31719,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[7,23,24,225,173,226,229,178,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[328],{"id":31721,"slug":31722,"title":31723,"dynasty":76,"author":6172,"museum":20,"description":31724,"tags":31725,"thumbUrl":31726,"material":40,"size":31727,"collection":181,"collections":31728,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[7,23,225,104,29,107,176,34,37,174,27,177,106,1542,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[181,45],{"id":31730,"slug":31731,"title":31732,"dynasty":76,"author":381,"museum":20,"description":31733,"tags":31734,"thumbUrl":31735,"material":4627,"size":31736,"collection":90,"collections":31737,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[7,23,24,225,28,27,29,11064,808,4693,466,109,558,34,4272,606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","184cm 96.6cm",[90,45],{"id":31739,"slug":31740,"title":31741,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":31742,"thumbUrl":31743,"material":67,"size":2225,"collection":139,"collections":31744,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},223035,"hong-lou-meng-160-sun-wen-223035","红楼梦160",[7,23,28,27,175,107,109,106,108,34,137,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a3b36d5f100795b59ea7df0714f34a.jpg",[],{"id":31746,"slug":31747,"title":31748,"dynasty":76,"author":14888,"museum":1406,"description":27113,"tags":31749,"thumbUrl":31750,"material":6350,"size":31751,"collection":181,"collections":31752,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},222646,"zhi-hua-xi-lie-zhi-hua-xin-zhu-gao-qi-pei-222646","指画系列-指画·新竹",[7,23,24,27115,173,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb762941767222f61c46e64997c0aa546.jpg","35.88x57.31cm",[181,90],{"id":31754,"slug":31755,"title":31756,"dynasty":99,"author":31757,"museum":206,"description":31758,"tags":31759,"thumbUrl":31760,"material":573,"size":31761,"collection":44,"collections":31762,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},222550,"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[7,23,25,28,27,106,29,107,1365,176,37,1265,104,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[44,45],{"id":31764,"slug":31765,"title":31766,"dynasty":99,"author":31173,"museum":56,"description":31175,"tags":31767,"thumbUrl":31768,"material":699,"size":31769,"collection":328,"collections":31770,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},222529,"lin-tang-tai-zong-tie-wang-duo-222529","临唐太宗帖",[7,86,2570,105,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f26ea79c07df6d303f5d07394524c59.jpg","纵252厘米横50厘米",[328],{"id":31772,"slug":31773,"title":10190,"dynasty":99,"author":7174,"museum":5521,"description":31774,"tags":31775,"thumbUrl":31776,"material":699,"size":31777,"collection":328,"collections":31778,"showCount":31479,"zanCount":2209,"manualWeight":48,"mainColor":94},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[7,178,86,25,263,173,622,24,174,107,29,266,3620,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[328],{"id":31780,"slug":31781,"title":31782,"dynasty":99,"author":2146,"museum":20,"description":31783,"tags":31784,"thumbUrl":31785,"material":40,"size":31786,"collection":181,"collections":31787,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},222362,"qian-tang-jing-wu-tu-zhou-tang-yin-222362","钱塘景物图轴","自题七绝并署款：“钱塘景物似围屏，路寄山崖屋寄汀。杨柳坡平人马歇，鸬鹚船过水风腥。唐寅。”钤“□郡”（白文，残，应为“吴郡”二字）、“唐白虎”（朱文）、“学圃堂”（朱文）印。\n此作在流传过程中曾经遭受损坏，唐寅题诗的顶端部分“钱”、“寄”、“船”字均为后世所补全。本幅下方二藏印模糊不可辨。\n图画崇山栈道，游骑翩翩，草阁游人独坐，江中渔舟游弋。山石、树木取法南宋李唐、夏圭，用笔方硬细峭，刻画精到，点景人物形态自然，风格细秀，显示了作者早年规步南宋“院体”风格的绘画功底。",[7,23,225,29,177,27,734,558,34,35,107,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0060a0b4d927625dc12f0a07bf48c8c6.jpg","纵71.4厘米，横37.2厘米",[181,163],{"id":31789,"slug":31790,"title":31791,"dynasty":99,"author":2146,"museum":206,"description":31792,"tags":31793,"thumbUrl":31795,"material":712,"size":31796,"collection":181,"collections":31797,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},222353,"li-shi-cong-hui-tu-tang-yin-222353","立石丛卉图","此画描绘了立石之下，几丛草花盛开。整幅作品只用水墨以没骨法大笔写出。\n立石通过皴笔的染擦，并以留白的方式写出阴阳向背，突出山石的质感。草花的浓淡墨色运用恰到好处。构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。画幅中自题：“杂卉烂春色，孤峰积雨痕。 譬若古贞士，终身伴菜根。”",[7,23,24,225,173,177,229,31794],"丛卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8502ef94696876ba6fce97d697a6ca9.jpg","52.60x28.60cm",[181,163],{"id":31799,"slug":31800,"title":31801,"dynasty":99,"author":31802,"museum":206,"description":31803,"tags":31804,"thumbUrl":31805,"material":139,"size":31806,"collection":181,"collections":31807,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[7,23,24,81,27,173,29,177,108,109,865,1365,1269,176,114,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[181,45],{"id":31809,"slug":31810,"title":31811,"dynasty":99,"author":170,"museum":206,"description":31812,"tags":31813,"thumbUrl":31815,"material":699,"size":139,"collection":139,"collections":31816,"showCount":31479,"zanCount":2209,"manualWeight":48,"mainColor":94},222091,"tai-jing-lin-ting-tu-shen-zhou-222091","苔迳林亭图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[7,1352,173,177,29,175,866,176,31814,263],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a2b67b5b31a4fb17975c34793c69e7.jpg",[],{"id":31818,"slug":31819,"title":31820,"dynasty":99,"author":20195,"museum":206,"description":31821,"tags":31822,"thumbUrl":31823,"material":88,"size":31824,"collection":181,"collections":31825,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},222087,"xi-tong-tu-zhou-qian-gu-222087","洗桐图轴","此图以人物为主，其背景作为陪衬，在画幅左下角画有连绵不断的山石，山石向竹草从杂\n此图绘一高士，坐在圏手椅上，头戴浩然巾，面日清瘦，身着宽服长袍，宽袖，双脚露出，双手扶在手椅上。圏手椅形制如栲佬式，传说唐代诗人孟浩然始用，明清时为流行，常用于文人逸士。这位高士仰首观望二童子洗园中一棵桐树，桐树下一童予抬水桶，往上使劲，又有一童子蹬坐在树楼上，左手扶着桐树枝，右手正用力吊起水桶为洗桐之用，另一童穿着开襟宽袖长服，持有鹅毛扇伫立于高土左侧，亦在目不转珠地望着两个孩童洗桐的情景。",[7,23,24,225,27,28,106,384,176,5766,300,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5caf239e655e2b04c3f4276936b930.jpg","纵129.8厘米，横445厘米",[181,45],{"id":31827,"slug":31828,"title":31829,"dynasty":189,"author":22031,"museum":206,"description":31830,"tags":31831,"thumbUrl":31832,"material":1271,"size":31833,"collection":181,"collections":31834,"showCount":31479,"zanCount":1337,"manualWeight":48,"mainColor":94},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[7,23,24,225,173,177,29,466,34,114,558,37,86,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[181,163],{"id":31836,"slug":31837,"title":31838,"dynasty":189,"author":2996,"museum":20,"description":31839,"tags":31840,"thumbUrl":31841,"material":573,"size":31842,"collection":163,"collections":31843,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},221816,"mu-yu-tu-zhou-li-kan-221816","沐雨图轴","《沐雨图轴》是元代李衎所画的中国古画。\n此图描绘雨中竹子的形态，手法极其写实，强调雨中之竹的清姿，其画法与双勾竹图基本相同，竹叶因雨水而显得沉重，叶尖自然下垂，在表现雨中竹叶下垂之姿上，李衎用笔显得娴熟自如。\n《沐雨竹图》将主要景物集中于画幅左侧。\n在画幅左下端力坡石，坡上倚附山石长有四竿翠竹，中间两株高大，且相互交错，竹竿交错后向左右伸展，枝叶茂密，竹叶纷披。\n左侧一株掩映于二株高大的翠竹荫下，略向左弯斜；右侧一株小竹向右弯斜，叶子呈下垂状。\n这一株翠竹虽不怎么起眼，但却是妙笔，起到了填补画幅右下部分的空白，对整个画面起到了充实和平衡作用：除竹石外，在坡石间还有数株兰草，点缀其间。\n自宋以来，“梅，兰、竹、菊”被士大夫称为“四君子”，象征“清高”、“幽洁”、“虚心”、“隐逸”、“气节”等精神品格。\n当社会危机、民族危机之时，一些知识分子无力抗争，在孤十贲与失望之中，“适性寄意”于笔墨：人元后“四君子”画不但更为兴盛，而且在思想感情的表现上更加丰富和深刻。\n特别是墨竹，单纯简易、挥洒便利又最具书法性格，所以最能引起士大夫的兴趣。\n可是李衍身为大官，他与赵孟頫是元代汉族文人画家中官职最显著者， 他喜欢画松、竹，这说明“松”、“竹”并非都是文人用来自诩“名节”之物。\n他为了画竹，“行役万余里”，深入南方竹乡，对竹的“形色情状，牛聚枯荣”做了深入研究，成为享有盛名的写生墨竹专家。\n此《沐雨竹图》轴是他画墨竹的代表作之一，其作品中之“竹”并不带有什么政治色彩，仅作为绘画的一个题材而已。\n此画虽将景物集中于画幅左侧，但经画家的确当布局，使整幅画的构图 较工稳；造型准确，设色匀净，枝叶繁复而不乱，层次分明。\n作者由于有过对竹子的认真观察和研究，并掌握了画竹的造型规律。\n故他画出的竹竿、们‘枝的线条挺坚，用笔实在有力，竹竿、竹枝、竹叶均用双勾画出，即用线条描绘竹叶的轮廓，再用汁绿烘染，叶尖微染赭黄，且其阴阳向背等细节都刻画得十分准确、细腻。\n其背景石都用双勾，然后用粗笔水墨皴染，分出阴阳面。\n坡石间的几丛兰和小草的安排，更使画面充满勃勃生机。\n此画的主题沐雨，作者强调了雨中之竹。\n故在作者笔下将沾满了雨水的竹子，竹叶个个呈下垂的自然神态，突出了“沐雨”这一主题，使画幅具有很强的写实性。\n此画给人以充实秀美的感觉，实属精品。\n这幅作品中只有四竿修竹和一些小枝是用汁绿晕染，竹干的晕染基本是平涂，只在竹节两端略有晕染。\n竹叶的敷色较为精工，不但叶根部和叶尖部的色调有所变化，而且叶面和叶背也不相同，繁多的叶片中没有一片是染出边缘轮廓之外．也可见作者的细致程度。\n在水墨环境的映衬下．《沐雨竹图》中的修竹亭亭玉立，青翠悦目。\n即使秋风萧瑟，也是竹叶摩娑，别具一番“如鸣环翠”的风韵。\n在翠竹右侧一竿高耸直指，左侧一竿向左上伸展，最前的一竿指向右方，右侧竹叶相对密集，造成左高右低的形势。\n竹干、竹枝的线条挺坚，竹叶的线条则圆润；竹干、竹枝的用笔比较实在有力，而竹叶的用笔就显得轻细活泼。\n李衎（1244—12年），字仲宾，号息斋道人，元大都（今北京）人，仕至集贤殿学士。\n他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾（今越南），到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。\n他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[7,23,24,225,28,173,226,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db8d493b70c64e938a16711c94486e2.jpg","纵111.5cm，横55cm",[163,1896],{"id":31845,"slug":31846,"title":31847,"dynasty":189,"author":921,"museum":20,"description":26271,"tags":31848,"thumbUrl":31849,"material":40,"size":26274,"collection":139,"collections":31850,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},221768,"er-ma-tu-ren-ren-fa-221768","二马图ＨＤ",[7,23,25,28,27,150,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e07ee211c41e1abdfd34684fd9b51ce.jpg",[],{"id":31852,"slug":31853,"title":8768,"dynasty":18,"author":5793,"museum":78,"description":7832,"tags":31854,"thumbUrl":31855,"material":573,"size":31856,"collection":139,"collections":31857,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},221603,"bu-dai-he-shang-tu-liang-kai-221603",[7,23,24,106,243,173,7834,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a3b6d4db81452ecdf7a090b19e5c62.jpg","纵31 3厘米，横24 5厘米",[],{"id":31859,"slug":31860,"title":31861,"dynasty":18,"author":553,"museum":101,"description":9689,"tags":31862,"thumbUrl":31863,"material":4130,"size":3519,"collection":42,"collections":31864,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":94},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[7,23,24,25,1218,173,27,177,28,86,178,263,29,384,174,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[42,181,163],{"id":31866,"slug":31867,"title":31868,"dynasty":18,"author":278,"museum":206,"description":31869,"tags":31870,"thumbUrl":31871,"material":573,"size":31872,"collection":42,"collections":31873,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[7,23,24,225,83,27,28,3898,314,136,4208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 167厘米",[42,90,45],{"id":31875,"slug":31876,"title":31877,"dynasty":76,"author":77,"museum":311,"description":31878,"tags":31879,"thumbUrl":31880,"material":699,"size":139,"collection":181,"collections":31881,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},221004,"du-shu-le-zhi-tu-yun-shou-ping-221004","读书乐志图","自从恽南田以高逸的山书画和寓意的没骨花卉写生画问世后，追随者众多。常州画派就是在这种审美风尚的趋引下，自然形成的的。",[7,1352,173,177,29,1423,866,114,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc2d65fab42a70cd08850963b499af.jpg",[181,163],{"id":31883,"slug":31884,"title":31885,"dynasty":99,"author":2494,"museum":206,"description":31886,"tags":31887,"thumbUrl":31888,"material":699,"size":31889,"collection":328,"collections":31890,"showCount":31479,"zanCount":2209,"manualWeight":48,"mainColor":94},220922,"chi-du-shang-ce-dong-qi-chang-220922","尺牍上册","明代董其昌行书临东坡尺牍册，纵25厘米；横14.1厘米，万历四十年（1612）书，上海博物馆藏。\n本册为董氏节录苏轼尺牍七段，阮元《石渠随笔》曾载此册，记为六段，又收入《石渠宝笈续编》。金粟笺本，笔精墨妙。有脱漏或改动字句处。1612年，董文敏58岁，其时于深研二王基础上，董氏进而汲取宋四家之长，除米芾外，钻研最深的便是苏轼。董书以灵动绰约见长，虽不如苏书沉厚雄健，然圆润秀逸则过之。",[7,86,178,81,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d04668bd94745352a74901f084f5ebd.jpg","35.7x42.3",[328],{"id":31892,"slug":31893,"title":31894,"dynasty":99,"author":2494,"museum":7087,"description":31895,"tags":31896,"thumbUrl":31897,"material":81,"size":7091,"collection":139,"collections":31898,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":139},220754,"fang-ge-jia-shan-shui-2-dong-qi-chang-220754","仿各家山水-2","此作用淡墨晕染远山，勾勒的山石尽显嶙峋之态，留白作云气晕出空濛山意。近岸林木笔法松秀苍润，浓墨点苔添得生机勃发。山坳村居、溪畔茅舍隐于丘壑之间，板桥行人又让林泉染上烟火暖意。\n\n题字错落左上，笔墨清雅萧散与画境相融。全画以干笔皴擦营造淡远空灵意境，简淡中见层次藏雅趣，将幽居林泉的闲逸藏于尺幅之间，尽显文人山水的疏朗清旷，观之如临寂寂山林，得自然清和之味。",[7,23,24,173,177,29,734,282,384,385,466,4970,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg",[],{"id":31900,"slug":31901,"title":31902,"dynasty":189,"author":4438,"museum":78,"description":31903,"tags":31904,"thumbUrl":31908,"material":123,"size":31909,"collection":181,"collections":31910,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},220406,"qiu-ge-qing-xiao-tu-sheng-mao-220406","秋舸清啸图","《秋舸清啸图》描绘的是在近岸陂陀上树木繁茂，一艘篷舟缓缓经过，船头有一位逸士正在仰天长啸，他身前置放酒皿瓷碗，身后古玩横陈，船尾是一个正在摇橹的一童 子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 取唐人法，描线细劲。画风与盛氏至正辛卯(1351年)所作的《沧江横琴图》近似。",[7,23,209,27,106,29,174,34,557,1640,31905,31906,31907,281,177],"长啸","阮籍","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4c131ade18640c2b048464aebfc709.jpg","纵167.5厘米，横102.4厘米",[181,45],{"id":31912,"slug":31913,"title":31914,"dynasty":18,"author":278,"museum":206,"description":31915,"tags":31916,"thumbUrl":31918,"material":123,"size":31919,"collection":42,"collections":31920,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},220385,"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[7,23,24,27,28,86,263,83,31917,10202,283,282,4272],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[42],{"id":31922,"slug":31923,"title":31924,"dynasty":99,"author":2146,"museum":132,"description":31925,"tags":31926,"thumbUrl":31927,"material":327,"size":31928,"collection":181,"collections":31929,"showCount":31479,"zanCount":48,"manualWeight":48,"mainColor":49},219982,"jiang-shen-cao-ge-tu-tang-yin-219982","江深草阁图","此幅作品以焦墨作江千石壁,二松虬结其间,松下一座茅亭,亭中幽人清坐,山拗间流泉飞落,山间小路曲折隐现,左中部有画家自题:'五月江深草阁寒苏门唐寅写增次明吴君．'下铃朱文印'唐子畏图书'、'某景书屋'．画心及诗堂有沈周、吕秉之、叶恭绰、吴湖帆等人题跋,整幅作品皴笔清劲、缜密,于风骨奇峭中透出明洁秀爽的雅逸之气。\n此幅作品虽无年月可考,但从风格上看,确为少年真迹．按吴湖帆的考证,沈周题诗书迹为60 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，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[7,209,23,24,225,173,29,177,107,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f767646b504d76c3e289173b139511.jpg",[],{"id":32090,"slug":32091,"title":32092,"dynasty":76,"author":3676,"museum":311,"description":8414,"tags":32093,"thumbUrl":32094,"material":2164,"size":2165,"collection":139,"collections":32095,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":94},289901,"song-bai-tu-tu-li-zhou-wu-chang-shuo-289901","松柏图图立轴",[7,23,225,27,173,83,24,10876,405,865,15841,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56dfc2b40298c3e1ad369a191abc33c.jpg",[],{"id":32097,"slug":32098,"title":4215,"dynasty":18,"author":676,"museum":311,"description":10466,"tags":32099,"thumbUrl":32100,"material":2164,"size":2165,"collection":139,"collections":32101,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},289803,"xi-yuan-ya-ji-tu-li-gong-lin-289803",[7,209,23,25,244,173,106,5187,1269,806,176,1087,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f499452419406330dad616cf813d5bb.jpg",[],{"id":32103,"slug":32104,"title":32105,"dynasty":277,"author":278,"museum":311,"description":32106,"tags":32107,"thumbUrl":32110,"material":2164,"size":2165,"collection":139,"collections":32111,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},289572,"huan-xi-tian-fo-xiang-yi-ming-289572","歡喜天佛像","这幅造像以象首与猪首护法为主体，二者身形丰腴饱满，遍身璎珞臂钏环身，装饰华丽精巧。画面线条古拙稚朴，带着民间画工的随性生动，设色厚重沉稳，虽历经岁月晕染褪色，依旧和谐耐看。\n\n二尊相向而立，姿态亲昵松弛，一人持卷似在念诵，一人托饼仿佛供养，打破传统佛造像的肃穆端庄，将密宗欢喜圆融的意趣融入其中，神性与世俗烟火气相融，传递出自在安乐的平和意蕴，尽显古朴灵动的异域宗教美术风情。",[7,243,8567,32108,106,808,8726,32109,27,244,65],"欢喜天","野猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01e603353edf1ea71753cc024af0a1a.jpg",[],{"id":32113,"slug":32114,"title":4458,"dynasty":18,"author":5793,"museum":311,"description":32115,"tags":32116,"thumbUrl":32117,"material":2164,"size":2165,"collection":139,"collections":32118,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":49},288537,"xue-jing-shan-shui-tu-liang-kai-288537","此图描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。在画幅左下角寒溪边缘有“梁楷”的落款。",[7,23,209,173,29,225,2019,151,106,865,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4256a748fc84359256c2b38ef594ca2.jpg",[],{"id":32120,"slug":32121,"title":7769,"dynasty":18,"author":2297,"museum":311,"description":32122,"tags":32123,"thumbUrl":32125,"material":2164,"size":2165,"collection":139,"collections":32126,"showCount":234,"zanCount":1337,"manualWeight":48,"mainColor":49},288323,"xue-shu-han-qin-tu-li-di-288323","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。",[7,209,23,225,28,27,83,266,865,226,2019,32124],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da25639e6a0aec09bce05ff5476054f.jpg",[],{"id":32128,"slug":32129,"title":32130,"dynasty":99,"author":278,"museum":311,"description":32131,"tags":32132,"thumbUrl":32134,"material":2164,"size":2165,"collection":139,"collections":32135,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},288078,"xuan-zong-gui-fei-zou-di-tu-li-zhou-yi-ming-288078","玄宗贵妃奏笛图立轴","垂柳拂过嶙峋湖石，水榭临波，贵妃执笛缓吹，玄宗近身侧耳，目光沉醉。一旁乐师斜倚朱栏，击节相和。衣纹线条流转灵动，敷色古雅沉静，将人物神态尽数勾勒：贵妃温婉柔媚，玄宗含情脉脉，乐师随性悠然，复刻出盛唐宫苑宴乐的缱绻雅致。画作带着明代人物画的典型意韵，以细腻笔触铺陈出往昔宫廷的闲情柔意，古意悠然，余韵绵长。",[7,209,23,24,225,27,106,59,210,32133,1322,10876,298,29,22211,17503],"笛子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d70c31c909eb5fda8b5faa14daa6288.jpg",[],{"id":32137,"slug":32138,"title":20176,"dynasty":204,"author":13531,"museum":20,"description":32139,"tags":32140,"thumbUrl":32141,"material":5507,"size":20180,"collection":328,"collections":32142,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},239562,"shen-xian-qi-ju-fa-juan-yang-ning-shi-239562","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。\n明朱存理《铁網珊瑚》、都穆《寓意编》、张丑《清河书画舫》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》、吴升《大观录》、清内府《石渠宝笈·三编》、胡敬《西清札记》等书有著录。",[7,24,25,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e237cc505d706730d135436a94e02b.jpg",[328],{"id":32144,"slug":32145,"title":28484,"dynasty":99,"author":5372,"museum":311,"description":32146,"tags":32147,"thumbUrl":32148,"material":139,"size":139,"collection":139,"collections":32149,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":94},234204,"mo-zhu-juan-sun-ke-hong-234204","中国成语中有“胸有成竹”之说，原意是指画竹之前心里已经有了竹子的形象，后来比喻在做事之前已经有了全面的设想和安排。“胸有成竹”出自宋代苏轼的《文与可画筼筜谷偃竹记》——“故画竹，必先得成竹于胸中”。苏轼的这篇文章写的是文同画竹。宋代文同开创了“墨竹”一派，在中国绘画史上有着重要的地位，而他笔下的竹也被赋予了一种百折不挠的奋斗精神。例如在他的作品《墨竹》中，竹子在岩石的压迫下，先俯以应时，再延伸而上仰，展现出旺盛的生命意志。历代画竹者数不胜数，很多人能够面对“墨竹”这一题目画一辈子。除文同之外，历史上亦有赵孟頫、管道昇、夏昶、李衎、吴镇等人笔下的竹堪称经典。历朝历代也不乏优秀的画家以竹作为描绘对象抒写胸中逸气，明代孙克弘便是其中之一。\n现藏于苏州博物馆的孙克弘《墨竹图》（见下图）纵113厘米、横31.8厘米。画家在画面左下角题识：“湘皋春雨楚烟霏，绿玉参差路欲迷。流水接天人不见，满林花落鹧鸪啼。雪居。”画面右下角生出三枝竹子，其中一枝成为此画的主角。竹子从右下方生长至左上角，显得生机盎然。竹叶施以浓墨，墨笔犀利，竹干和竹枝则用淡墨描绘。画家将两者的前后关系清楚地展现在观者面前，同时又突显了全画的主角，从中可以看出他的良苦用心。另外两枝竹子则沿画面右侧而上，均以淡墨着色，再次衬托出画面中心的主角。\n孙克弘（1533—1611），字允执，号雪居，上海松江人。他善楷、隶、篆等书体，取法宋克，上追秦汉，自成风格。在绘画方面，他早期长于写生花鸟，师法徐熙、赵昌、沈周、陆治。他的绘画作品或工笔，画法工整，色彩明丽；或写意，笔墨放逸，造型工致。他画墨竹仿文同。此幅《墨竹图》笔法谨严有致，又不失潇洒之态，深得文同墨竹的精髓。墨竹不仅如同文人画的一种标本和尺度，同时也反映了中国画笔墨的基本。此画中，竹干劲挺。画面正中的一枝呈“S”形构图，竹枝虬曲，变化中不失弹性，具有一定的节奏感。竹子枝头向上挑起，密叶以向上的趋势奔放扩张、凌空倚势，显示了无穷的生命力度。竹节与竹节之间虽断离而又有牵连之意。画面下方的小枝行笔疾速，婉顺而柔和。三枝主枝横斜曲直、顾盼有情。再看整幅画面的竹叶，看似笔笔随意却又不失生意，显得疏密有致、聚散兼顾。\n孙克弘的《墨竹图》画面整体层次分明，墨色的运用和处理较为丰富。竹干墨色偏淡，不同枝干上的竹叶颜色有深有浅。画家以浓墨描绘竹叶正面，以淡墨表现竹叶背面；老枝以浓墨绘成，嫩叶新枝又以淡墨表现。画面的前后关系随着一虚一实、一明一暗的节奏来表达。同时，画面中留有大量空白，带给人无限的遐想。从画面中，还可以看到无处不在的书法用笔。撇叶锋长却不露毫芒，叶尾转折处提笔露白，以示向背之势，这足以显示出孙克弘深厚的书法功底。\n古人喜画墨竹。从这些墨竹中，后人可体会到观万物之生意的意境，并对这种绵延不息的生意肃然起敬。古人云：“天地之大德曰‘生’。”“生”便是一切万物之源，而墨竹恰恰就体现了这种倔强的生机。画家通过对竹的不同形式的表达，所要传递的便是“生生之谓易”（《周易》）的道理。这也是中国文化中十分珍贵的精义。",[7,23,173,25,226,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ab4f26dfa87319af0ed8c422a44a60.jpg",[],{"id":32151,"slug":32152,"title":32153,"dynasty":76,"author":12204,"museum":20,"description":32154,"tags":32155,"thumbUrl":32157,"material":841,"size":139,"collection":139,"collections":32158,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","九歌图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[7,23,24,25,28,27,106,29,433,175,2278,2279,32156,176,34,107,109,263],"雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],{"id":32160,"slug":32161,"title":32162,"dynasty":18,"author":2253,"museum":311,"description":32163,"tags":32164,"thumbUrl":32165,"material":139,"size":139,"collection":139,"collections":32166,"showCount":234,"zanCount":1337,"manualWeight":48,"mainColor":49},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[7,209,23,24,25,28,27,1904,22687,83,808,940,11481,386,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],{"id":32168,"slug":32169,"title":32170,"dynasty":54,"author":7595,"museum":311,"description":32171,"tags":32172,"thumbUrl":32173,"material":139,"size":139,"collection":139,"collections":32174,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},232633,"huai-su-guo-zhong-tie-huai-su-232633","怀素过钟帖","前人写狂草，往往先来一大壶，半醉半醒，醉眼迷离，然后便笔走龙蛇，一气呵成。\n在这种状态下比较突出的两位，是唐代的怀素和张旭，后世有“张颠素狂”或“颠张醉素”之称，张旭史称草圣。、\n而怀素也同样是中国历史上杰出的书法家，他的草书称为狂草，用笔圆劲有力，使转如环，奔放流畅，和张旭齐名。可以说是古典的浪漫主义艺术，对后世影响极为深远。\n怀素能诗，与李白、杜甫、苏涣等诗人都有交往。好饮酒，每当饮酒兴起，不分墙壁、衣物、器皿，任意挥写，时人谓之“醉僧”。\n怀素的草书有《自叙帖》、《苦笋帖》、《食鱼帖》、《圣母帖》、《论书帖》、《大草千文》、《小草千字文》、《四十二章经》、《千字文》、《藏真帖》、《七帖》、《北亭草笔》等等。而《过钟帖》是怀素的草书作品之一\n释文：右軍云吾真書過鍾，而草故不減張僕，以為真 不如鍾，草不及張，所為世之，所重以 其能，懐素書之不足以為道，其言當不虚也 。",[7,86,24,622,620,2570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347d2d99acd4fd911a14f4f1d935f8d1.jpg",[],{"id":32176,"slug":32177,"title":32178,"dynasty":99,"author":27897,"museum":9826,"description":32179,"tags":32180,"thumbUrl":32181,"material":527,"size":32182,"collection":139,"collections":32183,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[7,23,24,25,173,29,226,770,34,176,86,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":32185,"slug":32186,"title":32187,"dynasty":277,"author":16142,"museum":311,"description":16143,"tags":32188,"thumbUrl":32189,"material":2164,"size":2165,"collection":181,"collections":32190,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 四季山水图（冬）",[7,23,1218,225,177,27,29,176,1365,865,35,13661,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[181],{"id":32192,"slug":32193,"title":32194,"dynasty":18,"author":278,"museum":311,"description":32195,"tags":32196,"thumbUrl":32197,"material":139,"size":139,"collection":139,"collections":32198,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":49},227922,"cao-tang-xiao-xia-tu-yi-ming-227922","草堂消夏图","石青石绿晕染出山居底色，古雅沉静。茅舍临波而建，蕉叶舒展、修竹藏幽，枯木疏朗点破夏寂，水色澹澹漫过阶前，将暑热涤荡一空。\n\n屋内二人对坐清谈，案间茶卷相依，不必摇扇，林泉间的幽凉便漫进草堂。笔墨工秀柔润，把夏日山居的闲静雅致铺陈开来，将耽于林泉、忘忧消暑的隐逸意趣藏在尺幅团扇里，满是冲淡安和的林下之风，尽显清旷襟怀。",[7,23,24,1352,27,28,29,106,866,226,229,770,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08840f39db0cf9f63dbb5ad9f829aaed.jpg",[],{"id":32200,"slug":32201,"title":999,"dynasty":18,"author":1395,"museum":311,"description":32202,"tags":32203,"thumbUrl":32204,"material":139,"size":139,"collection":139,"collections":32205,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},227774,"mu-niu-tu-li-tang-227774","李唐牧牛图，绢本， 61X63cm ，北京故宫博物院藏。鉴藏印：奉使之印、项元汴印、退密、仙客、子京所藏、项墨林父秘籍之印、蔗田珍玩、项叔子、叶蔗田珍赏章、蔗田曾藏识者宝之、平生珍赏、畊霞溪馆、虚斋审定书画名迹 钤印：苏氏文印、西磵云樵、昌龄、苏。",[7,209,23,24,29,106,151,866,27,173,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":32207,"slug":32208,"title":32209,"dynasty":18,"author":708,"museum":311,"description":29164,"tags":32210,"thumbUrl":32211,"material":139,"size":139,"collection":139,"collections":32212,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},227730,"dong-ting-qiu-yue-tu-xiao-xia-gui-227730","洞庭秋月图（小）",[7,23,209,24,225,173,29,285,866,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706adea0be21d3e2be8c5b05315e7cc4.jpg",[],{"id":32214,"slug":32215,"title":5502,"dynasty":1483,"author":5503,"museum":311,"description":32216,"tags":32217,"thumbUrl":32218,"material":139,"size":139,"collection":139,"collections":32219,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":94},227045,"zhong-qiu-tie-wang-xian-zhi-227045","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[7,86,178,25,24,263,27,106,34,4272,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":32221,"slug":32222,"title":32223,"dynasty":76,"author":963,"museum":311,"description":32224,"tags":32225,"thumbUrl":32226,"material":139,"size":139,"collection":139,"collections":32227,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},224519,"shan-shui-tu-ce-8-kai-6-shi-tao-224519","山水图册8开-6","此作以极简笔墨铺陈林泉幽境，虬松苍劲盘曲，焦墨攒写松针，古拙老辣尽现岁寒风骨。茅舍板桥轻勾淡染，野朴天真。浅赭花青晕染远山，留白代水，虚实相生间漾开空濛淡远的烟岚之气。\n\n桥头渔翁寥寥数笔，便勾画出垂纶忘机的闲淡模样，暗合寄情丘壑、与世无争的林下襟怀。全幅笔致纵逸灵秀，以水墨浅绛写就幽居逸趣，淡而愈远，简中见雅，将文人幽栖林泉的意趣藏入每寸笔墨，悠悠然漾出静穆清和的林下之风。",[7,209,23,24,81,173,177,29,108,770,1365,1542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47caab48b06d630ce9946e368b7e7336.jpg",[],{"id":32229,"slug":32230,"title":32231,"dynasty":76,"author":4406,"museum":20,"description":32232,"tags":32233,"thumbUrl":32234,"material":40,"size":32235,"collection":181,"collections":32236,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":49},224483,"ling-shang-bai-yun-tu-wang-jian-224483","岭上白云图","图绘山峦叠嶂，树木茁壮葱茏，山间、山脚处民居隐现，坐落于此犹如世外桃园，画面布局充实繁密，山石画法以黄公望为宗，于披麻皴后又用横点叠皴，或勾或点，各具风姿。笔法圆润，浓墨点苔。风格古朴高雅，具有大气淳厚之感，是幅不可多得的佳作。",[7,23,24,225,27,29,177,734,3596,384,175,107,558,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcc8e3e142af285a644cc82cafaa371.jpg","143.7x50.6cm",[181],{"id":32238,"slug":32239,"title":32240,"dynasty":76,"author":7940,"museum":311,"description":32241,"tags":32242,"thumbUrl":32243,"material":139,"size":139,"collection":139,"collections":32244,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[7,23,24,25,27,177,29,734,282,384,865,2278,33,175,4970,266,466,37,176,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":32246,"slug":32247,"title":32248,"dynasty":76,"author":2924,"museum":311,"description":32249,"tags":32250,"thumbUrl":32251,"material":139,"size":139,"collection":139,"collections":32252,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},224373,"hua-hui-qi-shi-ce-shi-er-kai-2-ju-lian-224373","花卉奇石册-十二开-2","此作以赭色绢本为底，湖石嶙峋通透，枯墨勾皴轮廓，淡墨晕染凹处，将灵璧石的空透雅态尽展。旁侧方盆月季，莹白瓣边晕染浅粉，枝叶敷色清润鲜活，柔媚动人。石顶细草轻缀，一只蜻蜓敛翼停驻，翅脉纤毫毕现，为静雅案头景致添入灵动生机。\n\n全作用色秀妍温婉，没骨技法工写相融，既将草木虫豸描摹得细腻鲜活，又以写意笔法带出湖石的苍古意趣，把文房清供的幽寂闲雅尽数铺陈，尽显柔润秀逸的江南画韵，将小品静物的雅致情致刻画得恰到好处。",[7,23,27,28,81,84,1724,696,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d737743b159527daa080f75cc1af3a.jpg",[],{"id":32254,"slug":32255,"title":32256,"dynasty":76,"author":1563,"museum":311,"description":32257,"tags":32258,"thumbUrl":32259,"material":139,"size":139,"collection":139,"collections":32260,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},224189,"hua-niao-cao-chong-tu-ba-08-hua-yan-224189","花鸟草虫图八-08","这幅小品以空灵留白铺就底色，斜曳竹枝破开空寂，清隽湖石晕染出雅致青绿，与浅赭淡墨调和出柔和古雅的基调。石上狸猫团身酣眠，憨态宛然；石下乳犬抬首凝视，稚拙灵动，另有小犬伏于草间，野趣横生。\n作者以工写兼施之法，将小生灵的情态刻画入微，幽花细草点缀其间，把林下闲时的寻常小景晕染成充满悠然意趣的画卷，尽显恬淡治愈的文人雅韵，灵动雅致间定格住山野闲情。",[7,23,27,81,400,226,229,928,808,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee46bd5b46ec743c1b2705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“主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[7,23,24,173,27,177,29,557,176,34,865,174,5535,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[42,181,163],{"id":32270,"slug":32271,"title":32272,"dynasty":189,"author":278,"museum":20,"description":32273,"tags":32274,"thumbUrl":32275,"material":699,"size":32276,"collection":139,"collections":32277,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},223560,"yu-lan-guan-yin-tu-yi-ming-223560","渔篮观音图","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。\n佛教中三十三观音之一。手持鱼篮。明宋濂有《鱼篮观音像赞》：“序按《观音感应传》：唐元和十二年（公元817年），陕右金沙滩上有一美艳女子，絜篮鬻鱼，人竞欲室之。女曰：‘妾能授经，一夕能诵《普门品》者，事焉。’黎明，能者二十。女辞曰：‘一身岂堪配众夫邪！请易《金刚经》，如前期。’能者复居其半。女又辞，请易《法华经》，期以三日。惟马氏子能。女令具礼成婚。入门，女即死，死即糜烂立尽，遽瘗之。他日，有僧同马氏子启藏观之，惟有黄金锁子骨存焉。僧曰：‘此观音示现以化汝耳。’言讫飞空而去。自是陕西多诵经者。“",[7,209,23,24,225,243,106,173,244,86,263,18345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc18d37597ee238c26ceb0b013f0ee58.jpg","82.1x32",[],{"id":32279,"slug":32280,"title":32281,"dynasty":99,"author":278,"museum":222,"description":32282,"tags":32283,"thumbUrl":32284,"material":32285,"size":32286,"collection":139,"collections":32287,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":49},223405,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-223405","天龙八部罗叉女眾","右上题“天龙八部罗叉女众”，上端题“大明景泰五年八月初三日施”。并钤“广运之宝”印。左下书“御用监太监尚义、王勤等奉命提督监造” ​​​​。 ​​​​此图绘有天龙八部中的四位即：天众、龙众、紧那罗、摩呼罗迦。外另四罗叉（刹）女，分别持有刀、剑、弓等武器。从形制看应该还有对幅来组成“八部“，可能已佚。此图是明景泰年间（1450-1457年）宫廷画师所作，极尽华丽之能事，可与法海寺壁画参看。",[7,23,225,28,27,243,106,245,8037,3861,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d662c5db16a58703b6f2c0f10c2843.jpg","绢本·设色","141 x 79.2 cm",[],{"id":32289,"slug":32290,"title":32291,"dynasty":76,"author":18846,"museum":311,"description":32292,"tags":32293,"thumbUrl":32294,"material":699,"size":139,"collection":139,"collections":32295,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},223277,"jin-gang-jing-hong-yi-fa-shi-223277","金刚经","《节录金刚般若波罗蜜经》，书于1936年，全卷20米余，这个版本是弘一法师传世墨迹中的精品，手抄经书代表作。以行楷的风格书写此经，主要以中锋圆笔为用，线条甚有灵动之美，而起笔之处又多微微出锋而含蓄，具有很强的资料收藏价值。",[7,86,5152,621,5153,263,76,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b85ba1efb72fd52b463400028f1ba6.jpg",[],{"id":32297,"slug":32298,"title":32299,"dynasty":76,"author":1563,"museum":206,"description":32300,"tags":32301,"thumbUrl":32302,"material":712,"size":32303,"collection":181,"collections":32304,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":94},223130,"zi-hua-xiang-hua-yan-223130","自画像","本幅自题：“新罗山人小景。嗤余好事徒，性耽山野僻。每入深谷中，贪玩泉与石。或遇奇邱壑，双飞折齿屐。翩翩排烟云，如翅生两腋。此兴四十年，追思殊可惜。迩来筋骨老，迥不及畴昔。聊以孤松唫，闭之蒿间宅。洞然窥小牖，寥萧浮虚白。炎风扇大火，高天苦燔炙。倦卧竹筐床，清汗湿枕席。耶得踏层冰，散发倾崖侧。其坐捉笔砚，写我躯七尺。嬴形侣鹤臒，峭兀比霜柏。俯仰绝尘境，晨昏不相迫。草色荣空春，苔纹华石壁。古藤结游青，寒水浸僵碧。悠悠小乾坤，福地无灾厄。雍正丁未长夏新罗山人坐讲声书舍戏墨。”钤“秋岳”、“华岩”。引首钤“小园”，右下钤“离垢”。“雍正丁未”为1727年，华岩时年46岁。\n华岩是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华岩潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华岩一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华岩身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[7,23,24,225,173,400,106,29,558,466,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618e9659c8ac72917cca6831b14c9888.jpg","纵130.5厘米，横50.7厘米",[181,163],{"id":32306,"slug":32307,"title":32308,"dynasty":76,"author":32309,"museum":311,"description":32310,"tags":32311,"thumbUrl":32312,"material":699,"size":32313,"collection":328,"collections":32314,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},223125,"shu-hua-ce-ye-ji-gui-zhuang-223125","《书画册页》-寄","归庄","归庄（1613年8月29日——1673年10月1日） ，明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[7,315,24,4850,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0175a63c532bdaa1c34eaf797535b8ec.jpg","纵24.5厘米，横35.5厘米",[328],{"id":32316,"slug":32317,"title":32318,"dynasty":76,"author":22959,"museum":20,"description":32319,"tags":32320,"thumbUrl":32321,"material":712,"size":32322,"collection":181,"collections":32323,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[7,23,24,29,173,177,176,34,466,175,114,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[181,163],{"id":32325,"slug":32326,"title":32327,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":32328,"thumbUrl":32329,"material":67,"size":2225,"collection":139,"collections":32330,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},223074,"hong-lou-meng-60-sun-wen-223074","红楼梦60",[7,23,209,28,27,106,1205,107,108,29,4272,229,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc778f30d6320cf2226001639f7dbc7e6.jpg",[],{"id":32332,"slug":32333,"title":32334,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":32335,"thumbUrl":32336,"material":67,"size":2225,"collection":139,"collections":32337,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},223061,"hong-lou-meng-47-sun-wen-223061","红楼梦47",[7,23,28,27,25,106,59,108,109,34,35,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610bde4c2f78ed4a71fd87145a23f3d6.jpg",[],{"id":32339,"slug":32340,"title":32341,"dynasty":76,"author":32342,"museum":222,"description":32343,"tags":32344,"thumbUrl":32346,"material":1411,"size":32347,"collection":181,"collections":32348,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[7,23,25,173,177,1218,32345,34,176,31,35,1267,106,37,1265,3710,3711],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[181,163],{"id":32350,"slug":32351,"title":32352,"dynasty":76,"author":4192,"museum":311,"description":15353,"tags":32353,"thumbUrl":32354,"material":1488,"size":32355,"collection":139,"collections":32356,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":94},222622,"shan-shui-shan-mian-3-gong-xian-222622","山水扇面-3",[7,23,24,1352,173,177,29,175,384,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6191e681c7f9801e2bd66e8502b32f.jpg","纵22.7厘米，横63.1厘米",[],{"id":32358,"slug":32359,"title":32360,"dynasty":99,"author":170,"museum":206,"description":32361,"tags":32362,"thumbUrl":32364,"material":139,"size":139,"collection":90,"collections":32365,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":94},222126,"jiao-yin-qin-si-tu-shen-zhou-222126","蕉阴琴思图","一块长形的太湖石，一株高大翠绿的芭蕉，下坐一名高士扶琴静思，左上题诗日：“焦下不生暑，坐生知古心。抱琴未须鼓，天地自知音。”落款长洲沈周。整幅作品笔简意赅，虽墨点无多却意蕴凿凿、余味深长，布局与《秋林独步图》如出一辙，其悠然自得之情跃然方寸。",[7,209,23,24,1352,173,27,106,229,32363,210,86,263],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebd64831ee8b273146574817aaefdc3.jpg",[90,45],{"id":32367,"slug":32368,"title":32369,"dynasty":99,"author":14599,"museum":56,"description":32370,"tags":32371,"thumbUrl":32372,"material":527,"size":32373,"collection":181,"collections":32374,"showCount":234,"zanCount":2209,"manualWeight":48,"mainColor":255},222084,"han-shan-shi-de-tu-you-qiu-222084","寒山拾得图","寒山、拾得是唐代富有传奇色彩的人物。此图画唐贞观年间高僧寒山与拾得二人。寒山亦称寒山子，居天台始丰县寒岩，好吟词偈，状似疯癫。拾得是孤儿，寺僧拾而养之，故名拾得，在寺执炊涤器，与寒山友善。\n《寒山拾得图》是人物画中的佳作, “奇而不诡于正，真高流逸墨”。用笔大胆粗犷,线条流畅爽利。图中寒山右手指天,谈笔风生；拾得袒胸露腹,欢愉静听。两人披头散发,憨态可掬。从画面上，我们能够感觉到他是受了李唐画风的影响，两个人物安排在近处，给人一种很强烈的视觉印象，而远景的虚化处理，更强化了人物的形象。背景部分用笔较为豪放粗简，向外探出的树干向背分明，树枝行笔错落而不失坚挺，表现藤蔓的线条潇洒飘逸。",[7,23,173,244,225,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9b4eeb60e8f3530895eeb0a7701d9c.jpg","纵121厘米，横30 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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（1719年）至扬州鬻画，人争客之。\n雍正五年（1727年）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。\n乾隆十六年(1751年)黄慎的母亲去世，他又重游扬州，居住六年，才返故里，苦度晚年。\n乾隆三十三年（1768年）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[7,23,24,81,173,27,83,2570,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032ca96686e1dafcb055cff42ba16f41.jpg",[90],{"id":32707,"slug":32708,"title":32709,"dynasty":99,"author":3908,"museum":222,"description":16362,"tags":32710,"thumbUrl":32711,"material":67,"size":32712,"collection":139,"collections":32713,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图",[7,209,23,24,81,173,27,177,405,402,229,285,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],{"id":32715,"slug":32716,"title":17836,"dynasty":76,"author":10288,"museum":311,"description":32717,"tags":32718,"thumbUrl":32719,"material":699,"size":139,"collection":139,"collections":32720,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},231940,"qiu-shan-tu-kun-can-231940","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[7,209,23,24,25,173,27,177,29,865,176,109,174,3620,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":32722,"slug":32723,"title":32724,"dynasty":277,"author":32725,"museum":311,"description":32726,"tags":32727,"thumbUrl":32728,"material":139,"size":139,"collection":139,"collections":32729,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},230483,"an-tu-tao-shan-guan-feng-tu-ping-feng-shou-ye-xiu-lai-230483","安土桃山 观枫图屏风","狩野秀赖","的命名缘于当时的统治者织田信长，丰臣秀吉所在居城的地名而来，这个时代的文化被称为桃山文化（或安土桃山文化）。\n安土指织田信长的居城安土城，桃山指秀吉晚年的居城伏见城。\n为何伏见城又叫做桃山呢？是因为元和9年（162）幕府下令废弃伏见城，并在遗址上种植了很多桃树的原因。\n这个时期的文化主要体现在大名，豪商等阶层的繁荣奢华以及佛教影响力衰弱，西洋文化开始传播等方面。\n历来作为军事据点的城郭，由于领国经营等政治上的原因，从中世以来一直利用天险防御为中心的山城形态，渐渐过渡到小山丘上的平山城，最终形成通过濠（护城河），石垣来防御的平地上建筑的平城。\n在近世更是由于城下町的发达成为政治经济的中心。\n城郭内部的建设在这个时期也很出名，壮丽的 为军事和政治的中心，也是权力的象征，外围二丸三丸等环城和橹。\n这个时代的代表城郭有，平山城形态的有有 之美名的 （兵库县，附图2），有日本最古老的天守阁的犬山城（也称白帝城，爱知县）和彦根城（也称金龟城，滋贺县）；平城的代表有 ，松本城（又名深志城，长野县）。\n秀吉在京都的居所聚乐第，伏见城的城郭和书院式建筑的内部曾用黄金建造，光彩夺目，窗格采用镂空的雕刻。\n虽然现在已不存在，但是通过从被认为是聚乐第伏见城被拆毁时迁筑的建筑物身上可以推断出来。\n聚乐第的遗址是德大寺唐门和 飞云阁，伏见城的遗址为都久夫须麻神社本殿和西 书院·唐门。\n都久夫须麻神社为 的竹生岛上的神社。\n室内的隔扇·屏风上采用类似于浓绘的障壁画（障屏画）。\n障壁画有水墨画和金碧浓彩画两种，后者也可算作 浓绘，余白以金色和银色为地，采用绿青红等的浓彩的画法。\n障壁画的主流是狩野派。\n狩野派的奠基人 把室町时期盛行的水墨画和日本传统的大和绘巧妙的融合，运用丰富的色彩和强力的线描，雄大的构图等优点于一体的集大成者。\n永德的门人狩野山乐等创作了大量的障壁画。\n狩野永德的代表作品有《唐狮子图屏风》，《桧图屏风》（浓绘）；狩野山乐则有《松鹰图》，《牡丹图》。\n其他的还有海北派的始祖海北友松，长谷川派的始祖 等，也有很多优秀的浓绘和水墨画传世。\n海北友松的代表作《山水图屏风》（水墨画），长谷川等伯的《智积院袄绘》（浓绘）《松林图屏风》（水墨画）。\n另外，以都市和百姓生活，风俗等为题材的风俗画也很盛行。\n狩野永德所做描画京都内外名所和市民生活的《洛中洛外图屏风》。\n狩野长信的《花下游乐图屏风》，狩野吉信的《职人尽屏风图》，狩野秀赖的《高雄观枫图屏风》等为风俗画的代表作。\n武将和富裕的町众（町内的有力者）专注于茶道（茶会）和花道（插花）。\n， ， （后两人与千利休并称三宗匠）等茶人的出现，特别是 主张的“侘び茶”（静茶）由于受到秀吉和诸大名的赏识而广为流传。\n侘び茶指的是在小屋中举行茶会，感受茶道极致的意思。\n千利休的茶室以妙喜庵待庵为代表，侘び茶的精神在草庵风的单层屋顶的茶室里得到了极至的体现。\n其他的茶室如织田有乐斋的如庵也很有名。\n织田有乐（斋），即是织田信长的弟弟 。\n相对于侘び茶的茶室，秀吉修建了“黄金茶室”。\n叠的茶室里，使用大量的金和金箔。\n对于茶道的理解不同也导致了后来发生的悲剧。\n天正15年（1587），秀吉召开北野大茶会，不问身份贫富皆可参加，（但由于佐佐成政的肥后 爆发），预定1日的茶会不得不在一天就结束，极大地损害了为茶会奔走的堺商人的脸面。\n后又由于在 山门前的木像事件，愤怒的秀吉令利休切腹。\n伴随着茶道的盛行，茶室以外诸如茶器和庭园文化也得到了长足的进步。\n代表庭院为醍醐寺三宝院庭园。\n以高向寺荫绘有名。\n陶瓷器方面，乐烧为代表。\n是以京都的乐家的烧制为基础，初代的长次郎在聚乐第烧制为由而命名的。\n乐家以外的烧制者也很多。\n在桃山时代，美浓烧，赖户烧，备前烧，伊贺的 ，京的乐烧所制的陶器最受茶人们的欢迎。\n出兵朝鲜的将领中有抢抓朝鲜的陶工回国做工的事情发生。\n借由此，九州等西部沿海地区的陶业开始了急速的发展，其中 的有田烧（李参平创始）， 的上野烧， 的沙萨摩烧， 的高取烧，毛利辉元的萩烧的最为有名。\n此时，甲胄的制作也有了长足的进步。\n以 的歌舞伎，高三隆达的隆达节（曲），人形净琉璃最为盛行。\n阿国歌舞伎是指由阿国开创的かぶき踊り（歌舞）。\nかぶき踊り指异样的服装和 ，其中加入了能狂言（日本表演艺术的种类）和当时流行的念佛舞。\n阿国是就算不是首演者，也会是这项演出的来由者。\n关于阿国的最早记录是天正1年（1582） 的春日神社若宫拜殿的“ややこ踊”演出，出自于兴福寺的记录。\n“阿国自称为出云大社的巫女，边唱神歌或小歌边舞蹈。\n随后又开始念佛跳舞，更有女扮男装男扮女装的所作事（舞蹈剧名），再加入简单的动作跳かぶき踊り，这就是阿国歌舞伎的开始。\n” 庆长年间京都的四条河原等地风行，后来甚至波及到伏见城。\n由于人气的激增，模仿者辈出，才有了女歌舞伎到今天的发展。\n但是，在当时歌舞伎发展的初期，还是以歌舞为主兼带卖淫业务的，因此歌舞伎者被冠以“河原乞食”，“小屋者”，“芝居者”等蔑称，后来发展到野郎歌舞伎的时候，技艺才受到了普遍的重视。\n隆达节是界的商人高山隆达谱曲，重复吟唱《闲吟集》的小歌，也包含当时的恋歌和自作词。\n人形净琉璃是指搭配运用三味线和净琉璃来操作木偶的表演艺术。\n三味线是中国元代创作的三弦，在永禄年传来。\n本体用蛇皮包裹，故称蛇皮线，还有就是日本特有的猫皮线。\n由于国内的统一，和平的背景下都市顺利发展，生活文化也有着向上的趋势。\n服装方面，代表风格的小袖十分流行。\n小袖就是缩短了袖子的服装。\n另外木棉代替了麻成为了普通百姓的衣原料。\n豪华的表演服也出现来。\n住宅方面书院式建筑普及，京都还出现了2层的建筑。\n食文化方面，一日三餐的形式开始普及，调味料品新增了酱油和白糖。\n受到南蛮文化的广泛熏陶也是这一时期的文化特征之一。\n在绘画方面狩野派的画家有很多都是以南蛮人的风俗或和南蛮人做交易场景为主题来作画的。\n代表作品有根据舶来品世界图扩展摹写的《世界地图屏风》和据说是 命造的描画南欧骑马王侯战姿的《泰西王侯骑马图屏风》。\n许多新技术也通过贸易的开展而传入，耶稣会的传教士Valignano（意大利人）带来了西方的活字印刷术。\n出版了基督版（天草版）书籍，其中以全文葡萄牙语系罗马字记录的《天草版平家物语》和《天草版伊曾保物语》最为有名。\n另有说出兵朝鲜时也被传入印刷术，但是两者都在 被废止，原因是重版的时候非活字的方法比较经济实用。\n另外，航海术，造船术乃至天文，地理，医学等海外知识源源传入。\n服装和食物方面的专用名词也是在这个时代被定格的。\nパン、カステラ、ジュバン、タバコ、ラシャ是葡萄牙语系的外来语，ガラス、コーヒー是荷兰外来语，メリヤス、ビロード是西班牙语系。\nパン为面包，カステラ为蛋糕，ジュバン为和服的内衬衣，タバコ为烟草，ラシャ为毛衣，ガラス为杯子，コーヒー为咖啡，メリヤス为针织品，ビロード为绒毛衫",[7,27,28,106,5242,1365,176,29,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565459c5684f9f641815ea8b1c04085c.jpg",[],{"id":32731,"slug":32732,"title":2202,"dynasty":76,"author":10288,"museum":311,"description":32733,"tags":32734,"thumbUrl":32735,"material":139,"size":139,"collection":139,"collections":32736,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},228965,"shan-shui-ce-kun-can-228965","淡赭晕开薄暮天色，月色悬于天际晕出朦胧清光，远山隐在烟岚之中，如被夜雾浸得温润朦胧。近林以焦墨挥写，笔意苍劲老辣，繁枝密叶错落有致，将山野草木萧森之态尽显。\n\n蜿蜒山径之上，白衣策杖人缓步行游，为幽密林色添上清寂文人气韵。画作以干湿浓淡的墨色变化，揉合出月夜空山的空濛辽远，静穆萧散的禅意藏在笔底，将夜游林麓的幽闲况味融在烟霞里，淡远悠长的林下之思随月色漫溢开来，清寂悠然直入人心。",[7,23,24,209,173,177,263,29,285,1422,34,106,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8628031461d94722f467f710beefc78.jpg",[],{"id":32738,"slug":32739,"title":32740,"dynasty":99,"author":28316,"museum":311,"description":32741,"tags":32742,"thumbUrl":32743,"material":139,"size":139,"collection":139,"collections":32744,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[7,23,25,173,177,105,29,7577,108,109,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":32746,"slug":32747,"title":32748,"dynasty":99,"author":1014,"museum":311,"description":32749,"tags":32750,"thumbUrl":32757,"material":139,"size":139,"collection":139,"collections":32758,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},228850,"xi-gu-cai-wei-tu-dai-jin-228850","溪谷采薇图","此作用笔苍劲老辣，以高远与平远结合铺展画面。右侧危崖壁立，斧劈皴写出山石方硬峭拔的质感，左侧烟波浩渺，水墨晕染出朦胧烟岚，虚实相映勾勒出山水层次。\n近处枯槎老枝遒劲舒展，茅舍掩映林间，暗含林下幽居的隐逸意趣；中景溪泉蜿蜒汇入平湖，楼阁凌于谷间，添了几分雅致烟火气。远景山峦晕染朦胧，残月悬于淡墨长空，归雁成行掠破清寂，烘托出淡远萧疏的氛围。工写兼备间，将山林隐逸的幽澹之境尽显，兼具院体山水的雄浑笔力与文人画的散淡意趣。",[7,23,1218,173,10897,32751,13617,865,23019,32752,32753,107,557,32754,266,13620,32755,32756,2352],"工写兼备","溪泉","平湖","残月","萧疏淡远","院体山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41db834b0f7a314f221f8d8eb2bfc010.jpg",[],{"id":32760,"slug":32761,"title":32762,"dynasty":99,"author":100,"museum":1098,"description":32763,"tags":32764,"thumbUrl":32766,"material":139,"size":139,"collection":139,"collections":32767,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[7,23,209,25,28,27,26,29,106,150,34,4140,176,32765],"军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":32769,"slug":32770,"title":32771,"dynasty":99,"author":32772,"museum":311,"description":32773,"tags":32774,"thumbUrl":32775,"material":139,"size":139,"collection":139,"collections":32776,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},228404,"mo-he-tu-li-zhou-xiang-yuan-bian-228404","墨荷图立轴","项元汴","此作虚实相生，以文绘相融尽显文人意趣。右上角题诗留白衬映画面，下半段挥写墨荷。大写意泼染荷叶，墨色干湿浓淡交织，晕染出翠盖舒展的蓬勃野态；花瓣以清隽白描勾勒，尽显菡萏清雅绰约之姿。挺劲荷茎点缀苔斑，舒展兰草环绕侧畔，更添幽塘清逸之趣。\n\n整幅以极简水墨抒怀，将荷塘晓风的清寂诗意融于笔底，以简驭繁尽显晚明文人画重韵尚意的风骨，在水墨氤氲间晕染出空灵澹远的幽塘意境，是借物寄怀的文人水墨佳构。",[7,23,24,225,173,136,137,314,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e662119b33919b8f58181bb78653082.jpg",[],{"id":32778,"slug":32779,"title":32780,"dynasty":99,"author":936,"museum":32781,"description":32782,"tags":32783,"thumbUrl":32784,"material":409,"size":139,"collection":139,"collections":32785,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},228296,"lao-zi-qi-niu-chen-hong-shou-228296","老子骑牛","1","画面以清简之笔勾勒出超脱意趣，老子清癯古雅，神色淡然恬和，衣褶线条凝练劲挺，带着金石质感，古拙高逸。水牛憨拙沉稳，缓步渡溪，笔墨朴拙间尽显生动意态。布景疏朗，几竿修竹斜逸出尘，淡赭坡岸搭配墨色流云，留白铺就出空寂悠远的道家天地。设色雅致柔和，浅绛基调晕染出古淡空灵的氛围，将清逸超脱的意境尽数铺展，把天人合一的玄妙意趣藏于笔底，尽显古雅奇崛的画风特质，沉静里裹挟着出尘的悠远韵味。",[7,23,27,28,106,151,226,229,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ce83cdace5474ad255b551c4c99211.jpg",[],{"id":32787,"slug":32788,"title":32789,"dynasty":99,"author":936,"museum":311,"description":32790,"tags":32791,"thumbUrl":32794,"material":139,"size":139,"collection":139,"collections":32795,"showCount":272,"zanCount":2209,"manualWeight":48,"mainColor":49},228281,"wu-lao-tu-chen-hong-shou-228281","五老图","此作用奇石为席案，铺陈开五位老者的雅集场景。对弈者捻须凝思，观局者或倾身注目、或垂手静立，情态生动各别，尽显林下高贤的散淡意趣。\n画作以清劲高古的游丝铁线勾勒衣纹，造型奇崛古拙，设色浅淡沉静。老者面容刻画入微，须眉灵动鲜活，既带着明代人物画的高逸格调，又尽显作者标志性的古雅奇谲，将文人雅集的闲情逸致烘托得淋漓尽致，尽显晚明文人画的高妙意趣。",[7,23,28,27,244,106,1112,22583,32792,300,3157,32793,8869],"棋局","坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf837e79b295fad40272b805d470ec78.jpg",[],{"id":32797,"slug":32798,"title":32799,"dynasty":18,"author":1699,"museum":311,"description":32800,"tags":32801,"thumbUrl":32802,"material":139,"size":139,"collection":139,"collections":32803,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[7,209,23,24,27,29,28,177,34,176,107,1265,37,466,106,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":32805,"slug":32806,"title":32807,"dynasty":18,"author":1395,"museum":311,"description":32808,"tags":32809,"thumbUrl":32810,"material":139,"size":139,"collection":139,"collections":32811,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},227767,"gong-dian-hua-yuan-tu-ye-li-tang-227767","宫殿花园图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[7,209,23,27,104,106,107,34,176,115,2042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa52bbd47fa75dd0f52917c93d10f58b.jpg",[],{"id":32813,"slug":32814,"title":32815,"dynasty":18,"author":32816,"museum":311,"description":32817,"tags":32818,"thumbUrl":32819,"material":139,"size":139,"collection":139,"collections":32820,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},227411,"hu-ren-xiang-ma-tu-lian-bu-227411","胡人相马图","廉布","此图绘白马长啸，一白衣胡人在观马，一异装胡人在羌管，似与白马之啸互相呼应。此幅左上角题：四蹄玉削耳披风，独立昂藏气势雄，争向瑶池夸八骏，如何图内有真龙。山阳廉布。钤一印模糊不辨。然观此作绝非北宋末画迹，但人马描绘俱佳，也非庸手所为，当是托名廉布以射利。廉 布。字宣仲，号射泽老农。楚州山阳（今江苏省淮安）人。妙年登科，官至武学博士，以张邦昌婿，负才不得用。后居绍兴，既绝仕宦之念，以诗酒自娱。画山水，尤工枯木丛竹、奇石松柏、种种飘逸，师东坡而青出于蓝。",[7,23,209,27,28,106,150,384,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc845275590a4df7a346a1debac89576f.jpg",[],{"id":32822,"slug":32823,"title":32824,"dynasty":18,"author":278,"museum":311,"description":32825,"tags":32826,"thumbUrl":32827,"material":139,"size":139,"collection":139,"collections":32828,"showCount":272,"zanCount":1337,"manualWeight":48,"mainColor":49},227350,"gong-nv-tu-tuan-shan-yi-ming-227350","宫女图团扇","团扇，又称宫扇、纨扇，是中国汉族传统工艺品及艺术品，是一种圆形有柄的扇子，它代表着团圆友善、吉祥如意 [1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[7,209,23,24,1352,27,106,28,59,228,63,64,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":32830,"slug":32831,"title":32832,"dynasty":54,"author":2644,"museum":311,"description":32833,"tags":32834,"thumbUrl":32835,"material":139,"size":139,"collection":139,"collections":32836,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[7,209,23,24,10270,29,27,177,7577,176,865,13661,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":32838,"slug":32839,"title":28011,"dynasty":204,"author":6212,"museum":311,"description":32840,"tags":32841,"thumbUrl":32842,"material":139,"size":139,"collection":139,"collections":32843,"showCount":272,"zanCount":1337,"manualWeight":48,"mainColor":94},226713,"huo-lang-tu-ye-li-sheng-226713","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[7,209,23,24,4850,28,27,106,5739,300,34,1003,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":32845,"slug":32846,"title":7137,"dynasty":76,"author":1584,"museum":20,"description":32847,"tags":32848,"thumbUrl":32849,"material":1488,"size":17952,"collection":181,"collections":32850,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[7,209,23,1218,105,177,173,27,225,734,282,34,108,35,468,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg",[181],{"id":32852,"slug":32853,"title":32854,"dynasty":76,"author":1563,"museum":311,"description":32855,"tags":32856,"thumbUrl":32857,"material":139,"size":139,"collection":139,"collections":32858,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},224177,"tao-tan-yu-ya-hua-yan-224177","桃潭浴鸭","暖红桃枝垂曳入水，柔丝轻拂春水，将烂漫春色揉进涟漪。浴鸭憨态可掬，翎毛晕染细腻蓬松，俯身在清波中理羽，把春日闲静慵懒尽数绘出。\n\n整幅画虚实相生，艳而不俗的花色，和淡墨晕开的汀草灵石相映，兼工带写间既有精妙写实，又具疏朗雅致。笔意秀逸清新，将水畔清和的春日温柔晕染开来，把闲淡生机藏在每一处细节，尽显灵动雅致的文人意趣。",[7,23,27,83,28,225,264,925,282,283,928,6516,173,3202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c66d85b5a377c609d50d01fb40a230f.jpg",[],{"id":32860,"slug":32861,"title":32862,"dynasty":277,"author":278,"museum":311,"description":32863,"tags":32864,"thumbUrl":32865,"material":139,"size":139,"collection":139,"collections":32866,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},223615,"di-shi-san-yin-jie-tuo-zun-zhe-tu-yi-ming-223615","第十三因揭陀尊者图","半袒上身的尊者安坐崖间，高眉深目，虬髯微张，神情沉静威严，身后圆光晕染出清净圣格。身旁神兽昂首嘶吼，筋骨劲健灵动，动静之间形成鲜明反差，更衬出尊者静定无波的禅心。\n画作设色调和古雅，衣纹勾勒顿挫苍劲，晕染细致，既将织物厚重质感铺陈开来，又将尊者伟岸身形刻画入微。淡墨晕染山石云气，晕开幽寂清旷的禅意氛围。工写兼备之下，将尊者慈悲威严的气度与神兽悍勇神态尽皆展现，尽显古宗教绘画的肃穆高华与精湛笔力。",[7,23,24,225,243,28,27,106,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a690d779abe88933909687b4c9e34c7.jpg",[],{"id":32868,"slug":32869,"title":32870,"dynasty":18,"author":278,"museum":20,"description":32871,"tags":32872,"thumbUrl":32873,"material":573,"size":32874,"collection":42,"collections":32875,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},223532,"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[7,23,24,29,27,177,107,384,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[42,181,163],{"id":32877,"slug":32878,"title":32879,"dynasty":76,"author":803,"museum":132,"description":32880,"tags":32881,"thumbUrl":32882,"material":527,"size":32883,"collection":139,"collections":32884,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},223229,"tao-hua-shuang-ji-tu-ren-yi-223229","桃花双鸡图","这图在徐小仓的传世的花鸟画作品中亦属上品。任氏所创用的以侧锋塑方形物象的画法，也与“侧取媚”的书学理论息息相通。因这种造型特征，能使欣赏者得到清新愉悦的观感而不陷于艰深的笔墨意境之中。这一点，在徐祥的作品中也得到了很好的体观。至于坡石的勾勒，坡草的节奏和用色方法，这些都与任伯年的作风一脉相承，置诸伯年作品中，几乎是可以混人耳目的。徐祥的自运之处，在于画面的整体布局，此作构图饱满，充溢三角而稍留空虚之地，使画面丰满而不滞塞。桃枝的穿插层层叠错，相当繁杂，这一点，固可以目之为“琐碎”，但反思之，这种变简单为繁茂，变孤清为热闹的画法，恰恰是符合徐小仓作为一个平民画家的本色的，雅俗共赏是未尝可以轻易非议的。款识：海上徐小仓写。钤印：徐祥之印。\n通观全作，设色淡雅，用笔以方峻的侧锋铺点为主，枝叉的转折，桃叶的分布，树干的盘旋出节，均与任伯年如出一辙；雄鸡的造型也取三角形，有棱有角，古人论书尝云“侧取媚”，意即侧锋出笔则姿态婀娜。",[7,23,24,209,27,173,83,264,2801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa59cfc11c1f09f6b7195be05c9967f.jpg","138×68厘米",[],{"id":32886,"slug":32887,"title":7146,"dynasty":76,"author":7147,"museum":311,"description":7148,"tags":32888,"thumbUrl":32889,"material":139,"size":139,"collection":139,"collections":32890,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},223081,"shui-hu-ren-wu-ren-xun-223081",[7,209,23,24,27,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3a4f5179bbbd31544dae8f5435c3f9.jpg",[],{"id":32892,"slug":32893,"title":32894,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":32895,"thumbUrl":32899,"material":67,"size":2225,"collection":139,"collections":32900,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},223067,"hong-lou-meng-53-sun-wen-223067","红楼梦53",[7,23,28,27,24,2158,27087,1205,4304,32896,32897,84,32898],"古典厅堂","古典家具","钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb2d52989d8a7786715a5657cbdb872.jpg",[],{"id":32902,"slug":32903,"title":32904,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":32905,"thumbUrl":32906,"material":27,"size":1608,"collection":139,"collections":32907,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[7,209,23,24,81,27,28,8725,1126,83,2597,12751,1003,2342,284,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],{"id":32909,"slug":32910,"title":32911,"dynasty":76,"author":5585,"museum":101,"description":18587,"tags":32912,"thumbUrl":32913,"material":9791,"size":32914,"collection":328,"collections":32915,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开",[7,23,24,81,173,27,29,178,177,109,557,34,1253,35,6384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","31.8x24.8cm",[328,181],{"id":32917,"slug":32918,"title":32919,"dynasty":99,"author":2242,"museum":260,"description":4480,"tags":32920,"thumbUrl":32921,"material":527,"size":4484,"collection":139,"collections":32922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远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[7,23,28,27,29,34,35,174,867,109,106,558,33,177,1265,32937],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":32943,"slug":32944,"title":32945,"dynasty":99,"author":817,"museum":311,"description":32946,"tags":32947,"thumbUrl":32948,"material":32949,"size":32950,"collection":181,"collections":32951,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},221982,"shan-shui-juan-wen-zheng-ming-221982","山水卷","此时文征明的山水画有两种比较典型的风格：“粗文”和“细文”。他的粗笔山水主要取法沈周和吴镇，在粗简中表现出层次和韵味；细笔山水则取法于赵孟頫、王蒙，用笔细密，布景繁密。设色多以青绿重彩或间施浅绛绘之，清雅宁静，具有很强的装饰意味。文征明性情温和儒雅，尤推崇秀润、细丽、含蓄的画风，作品以细笔山水为主。这与沈周的雄强刚健、粗犷张扬的画风明显不同。收藏界历来有“粗文细沈”之说，他的粗笔山水因数量较少而更受藏家钟爱。",[7,23,29,734,282,384,3631,173,400,25,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[181,163],{"id":32953,"slug":32954,"title":32955,"dynasty":99,"author":32956,"museum":206,"description":32957,"tags":32958,"thumbUrl":32959,"material":409,"size":32960,"collection":163,"collections":32961,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},221877,"yun-lin-shu-shi-zhou-gu-zheng-yi-221877","云林树石轴","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。”",[7,23,173,225,177,384,4272,229,86,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca8b4dda7acc4293094d57d245fb08e.jpg","92.6 x 38.8 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希望多子 的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[7,209,23,24,81,28,27,511,11917,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[90],{"id":33145,"slug":33146,"title":33147,"dynasty":18,"author":3884,"museum":206,"description":33148,"tags":33149,"thumbUrl":33151,"material":123,"size":33152,"collection":90,"collections":33153,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},218701,"qiu-feng-jin-feng-tu-cui-bai-218701","秋风金凤图","这幅画描绘了一株绿叶红花的凤仙花，枝叶整齐，花瓣自然。铭文中的 崔白 是不真实的，应该是后来的归属。",[7,23,24,81,27,28,83,33150,759,8687],"金凤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38eb6e795308295e5ccd85afcb7adb45.jpg","22.9x26cm",[90],{"id":33155,"slug":33156,"title":33157,"dynasty":189,"author":1539,"museum":206,"description":33158,"tags":33159,"thumbUrl":33160,"material":327,"size":139,"collection":90,"collections":33161,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},218664,"zhu-quan-xiao-ting-wu-zhen-218664","竹泉小艇","墨韵淋漓间，翠竹苍劲挺拔，枝叶以劲挺之笔写出，墨色浓淡交错，似有清风穿叶而过。泉流隐于山石缝隙，虽未见全貌，却借留白与苔点暗喻潺潺之态。近处小艇泊于岸侧，舟中无人，留白生趣，引人遐想隐士或倚竹听泉，或泛艇寻幽。远处山峦以淡墨皴染，云雾轻笼，尽显江南山水的悠远空寂。整幅画以水墨为骨，诗意入魂，将文人隐逸情怀融于尺幅间，笔意简远却意蕴深长，仿佛能闻竹声泉响，触到那份远离尘嚣的淡然心境，尽显元人山水的空灵与闲适。",[7,23,209,24,86,173,177,29,226,5650,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13688cdad196b0705ce407027cb5e838.jpg",[90],{"id":33163,"slug":33164,"title":33165,"dynasty":76,"author":1584,"museum":20,"description":33166,"tags":33167,"thumbUrl":33168,"material":123,"size":33169,"collection":181,"collections":33170,"showCount":272,"zanCount":2209,"manualWeight":48,"mainColor":49},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[7,23,24,225,29,177,27,734,384,109,108,35,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[181],{"id":33172,"slug":33173,"title":33174,"dynasty":76,"author":1584,"museum":20,"description":33175,"tags":33176,"thumbUrl":33177,"material":123,"size":33178,"collection":181,"collections":33179,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[7,23,225,173,177,29,30,176,34,1365,109,174,1087,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[181],{"id":33181,"slug":33182,"title":33183,"dynasty":18,"author":33184,"museum":5803,"description":33185,"tags":33186,"thumbUrl":33187,"material":123,"size":33188,"collection":44,"collections":33189,"showCount":272,"zanCount":2209,"manualWeight":48,"mainColor":49},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[7,23,24,209,28,27,106,174,29,2607,402,109,266,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[44],{"id":33191,"slug":33192,"title":32369,"dynasty":189,"author":278,"museum":9744,"description":33193,"tags":33194,"thumbUrl":33195,"material":88,"size":33196,"collection":44,"collections":33197,"showCount":272,"zanCount":2209,"manualWeight":48,"mainColor":49},218441,"han-shan-shi-de-tu-yi-ming-218441","画面分呈两段意趣：左间二人相倚，笑意温软如沐春风，似是知音对语；右处禅者踞岩，虎伴身侧驯若良朋，尽显禅心化境。淡墨晕染烟岚轻笼的山野，线条简括却勾摹出人物神态的鲜活与自然的清旷。草木疏朗，山石朴拙，处处透着元人画中那份超然尘外的禅意与闲逸。素净之笔未施浓彩，却将隐逸的自在与禅理的圆融悄然铺展，观之令人忘俗。",[7,23,173,244,177,106,8436,29,34,229,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0e535c4564e424c74e7b09730c1015.jpg","56x110.2",[44],{"id":33199,"slug":33200,"title":33201,"dynasty":76,"author":582,"museum":447,"description":4491,"tags":33202,"thumbUrl":33203,"material":123,"size":4494,"collection":139,"collections":33204,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},218337,"shen-xian-gu-shi-tu-ce-1-leng-mei-218337","神仙故事图册-1",[7,23,27,28,106,109,176,34,13899,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a61ad2a7e96dd17ea8b4e38b2355c5.jpg",[],{"id":33206,"slug":33207,"title":33208,"dynasty":99,"author":2494,"museum":132,"description":6687,"tags":33209,"thumbUrl":33210,"material":88,"size":139,"collection":139,"collections":33211,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":94},217015,"fang-gu-shan-shui-ce-liu-kai-6-dong-qi-chang-217015","仿古山水册六开-6",[7,23,24,81,173,177,29,176,1365,108,12074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6211ae8ca6eddfebd49ee0a2f4aec4.jpg",[],{"id":33213,"slug":33214,"title":33215,"dynasty":76,"author":278,"museum":311,"description":33216,"tags":33217,"thumbUrl":33218,"material":123,"size":139,"collection":139,"collections":33219,"showCount":272,"zanCount":48,"manualWeight":48,"mainColor":49},216712,"hong-lou-meng-fu-tu-ce-12-yi-ming-216712","红楼梦赋图册-12","柳丝轻垂如帘，将内外景致温柔分隔。室外女子衣袂轻扬，或低语或凝眸，衣色淡雅如春日烟霞；栏杆旁草色萌新，山石间点缀细花，尽是闺中闲静之态。室内帐幔层叠，朱红与素白交织出朦胧暖意，卧榻人影隐约，似含一缕慵懒或幽思。笔墨细腻处，人物神态温婉流转，陈设精巧如真——案上器物、窗边棂格，皆藏着古典生活的雅致余韵。整幅画晕染着红楼特有的幽微情致，似将一段闺阁闲情定格，让观者窥见旧时光里的细腻光影，心绪也随那轻垂的柳丝，坠入这绢素间的温柔梦境。",[7,23,27,28,81,106,59,114,3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（珂罗版）","黄公望（1269年9月12日—1354年11月10日） 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uan-dong-qi-chang-283734","赠珂雪山水图卷","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[7,23,25,24,173,29,86,178,177,557,1082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c500429c2c8c477ba68a84e27e3ef7.jpg",[],{"id":33319,"slug":33320,"title":33321,"dynasty":99,"author":817,"museum":20,"description":33322,"tags":33323,"thumbUrl":33324,"material":1488,"size":33325,"collection":139,"collections":33326,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":94},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[7,23,24,25,173,244,86,178,226,406,385,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":33328,"slug":33329,"title":33330,"dynasty":99,"author":16420,"museum":311,"description":33331,"tags":33332,"thumbUrl":33333,"material":139,"size":139,"collection":139,"collections":33334,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":629},234172,"xiang-jiang-chun-yu-tu-juan-xia-chang-234172","湘江春雨图卷","夏昶（188—147），字仲昭，号自在居士、玉峰， 人，后人誉其画竹高手。\n他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。\n号自在居士，又号玉峯，江苏昆山人， 弟。\n正统中官至 直内阁。\n画墨竹师 ，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为 。\n文皇十分赏识他的楷书，被推荐 内省，授 。\n永乐命书宫殿榜。\n尝侍从皇帝出巡于南、北二京。\n(公元1426一145年)中，转考工主事，仍供内直。\n正统(公元146—1449年)中升太常卿。\n他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。\n晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学 兼学 ，有自己的面目，声誉大大超过了他的老师。\n其兄 ，字孟旸，亦以书法 称旨，命与昶同拜中书舍人，时称“大小中书”。\n画山水师元画家 ；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n其孙女为 祖母，另一孙女则在其过世后嫁予 为妻。\n夏昶以 笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而 。\n当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞( )的 (字廷瑞)、钱塘(杭州)的詹和（字仲和)。\n而以屈礿为突出。\n明 《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。\n”徐沁 说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。\n所作竹枝烟姿雨色，偃值浓疎，动和 ，盖行家也。\n昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。\n尤精楷法，永乐命书宫殿榜。\n卒年八十三。\n传世作品有《湘江风雨图卷》（ 藏）、《满林春雨图轴》（ 藏）、《 》（ 藏）等。",[7,23,24,25,173,29,226,385,177,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce25658d7757cb59f52d9d91b347bb7.jpg",[],{"id":33336,"slug":33337,"title":32153,"dynasty":189,"author":18423,"museum":7116,"description":33338,"tags":33339,"thumbUrl":33340,"material":699,"size":33341,"collection":139,"collections":33342,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":94},233767,"jiu-ge-tu-juan-zhang-wo-233767","“九歌”的名称来源很早，据说在夏朝的时候就已经出现了，《离骚》《天问》和《山海经》中都曾经提到过它。《离骚》中说：“奏九歌而舞韶兮”。“韶”，相传是舜帝的舞曲，把它与“九歌”并举，可见都是远古的乐章。而《山海经》则说“九歌”是启（传说中大禹的儿子）从天上偷来的，这便给她添上了神话色彩。现存“九歌”，其实是楚国南部流传已久的一套民间祭神的乐歌，后来经过屈原的加工改写而创造出来一种独特的抒情诗。张渥的这幅画上有屈原的画像，可见他也是根据屈原的《九歌》来创作这幅作品的。\n屈原所作《九歌》是根据民间祀神乐曲加工润色而成的诗章。当时楚国的巫风兴盛，人们的娱乐生活往往和宗教祭祀杂糅在一起，通过所祀之神来表达自己的理想和愿望。屈原《九歌》从内容到风格形式，都保存着南方原始祀神民歌的基本格调，在长期的历史进程中一直闪耀着动人的光辉，并吸引着历代画家们以此为题材进行艺术创作。据传最早绘制《九歌图》的画家是宋代李公麟。元代画家张渥的《九歌图卷》历来被认为是李公麟原作的摹本，这从该画卷后的题款“临李龙眠九歌图”即可看出。 [4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[7,23,24,25,244,106,808,8436,109,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],{"id":33344,"slug":33345,"title":33346,"dynasty":189,"author":7203,"museum":311,"description":33347,"tags":33348,"thumbUrl":33349,"material":699,"size":33350,"collection":139,"collections":33351,"showCount":33252,"zanCount":2209,"manualWeight":48,"mainColor":94},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[7,209,23,24,25,105,173,177,29,734,37,109,34,31,10496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":33353,"slug":33354,"title":33355,"dynasty":76,"author":12256,"museum":311,"description":33356,"tags":33357,"thumbUrl":33362,"material":139,"size":139,"collection":139,"collections":33363,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":49},228950,"jiu-cheng-gong-tu-yuan-jiang-228950","九成宫图","危崖崚嶒，古柏虬劲苍郁，云雾轻笼层峦，将殿宇台榭晕染如缥缈仙宫。界画工细严整，斗拱梁枋毫厘毕现，青蓝重彩晕染出殿宇的华贵庄重，尽显匠造精工。\n\n远景平沙远岫，烟波浩渺间晕开朦胧诗意，近景层岩叠翠，山道间商旅穿行点缀烟火气。整幅开合有度，虚实相生，将皇家宫苑的宏阔威严，与山水灵秀融为一体，以极致工笔勾勒出雄奇雅丽的山水宫苑胜境。",[7,209,23,104,28,27,26,29,107,29087,13617,33358,37,33359,6962,33360,33361],"古柏","平沙远岫","商旅","皇家宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612d9d536058ffbfac745708307b19e8.jpg",[],{"id":33365,"slug":33366,"title":33367,"dynasty":99,"author":278,"museum":311,"description":33368,"tags":33369,"thumbUrl":33370,"material":2164,"size":2165,"collection":139,"collections":33371,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":49},228785,"shi-yi-mian-qian-shou-guan-yin-xiang-yi-ming-228785","十一面千手观音像","十一面观音，Ekādaśa mukhānām Avalokiteśvara，六观音之一，主救济阿修罗道，给众生以除病、灭罪、增福之现世利益。总之为除恶导善，引众生入佛道之菩萨。",[7,23,24,243,106,28,27,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d021d8e9cc61cc2bc69122214eef57e.jpg",[],{"id":33373,"slug":33374,"title":33375,"dynasty":99,"author":15579,"museum":311,"description":33376,"tags":33377,"thumbUrl":33379,"material":139,"size":139,"collection":139,"collections":33380,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":49},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[7,23,24,225,173,27,177,29,33378,174,34,466,176,37],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":33382,"slug":33383,"title":33384,"dynasty":99,"author":100,"museum":311,"description":33385,"tags":33386,"thumbUrl":33387,"material":139,"size":139,"collection":139,"collections":33388,"showCount":33252,"zanCount":1337,"manualWeight":48,"mainColor":49},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[7,23,25,28,27,26,29,106,150,108,109,34,176,37,177,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":33390,"slug":33391,"title":33392,"dynasty":99,"author":33393,"museum":311,"description":33394,"tags":33395,"thumbUrl":33406,"material":139,"size":139,"collection":139,"collections":33407,"showCount":33252,"zanCount":2209,"manualWeight":48,"mainColor":49},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","黄向坚","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[7,23,25,527,1218,33396,177,33397,33398,33399,30404,33400,1080,33401,194,16406,33402,1422,3596,33403,1265,15135,15679,33404,33405,473,30],"纪游山水","渴笔干皴","解索皴","没骨法","巉崖陡壁","山溪","危桥","松杉","万里寻亲","忠孝情怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],{"id":33409,"slug":33410,"title":33411,"dynasty":189,"author":278,"museum":311,"description":8352,"tags":33412,"thumbUrl":33413,"material":2164,"size":2165,"collection":139,"collections":33414,"showCount":33252,"zanCount":2209,"manualWeight":48,"mainColor":49},228201,"bi-hua-tu-ye-yi-ming-228201","壁画图页",[7,538,23,24,27,28,106,59,384,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7378d93b9a62ea1e98536887833518d0.jpg",[],{"id":33416,"slug":33417,"title":5228,"dynasty":18,"author":2483,"museum":311,"description":33418,"tags":33419,"thumbUrl":33420,"material":139,"size":139,"collection":139,"collections":33421,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":49},227956,"hua-niao-tu-ye-zhao-bo-ju-227956","这幅小品以清雅笔触勾勒乡野闲趣，瓜叶舒展圆润，甜瓜垂坠饱满，藤须轻曳带着夏日的鲜活生机。两只小鼠姿态灵动憨然，一只探鼻轻嗅瓜蒂，一只俯身张望，将鼠类的机灵敏锐与憨态尽显无余。\n整画工致细腻，瓜的棱纹晕染自然，鼠身绒毛纤毫毕现，淡彩晕染古朴柔和，将日常细碎小景绘得意趣盎然。平淡乡野片段被定格为隽永画面，藏着对烟火日常的温柔体察，尽显于寻常间寻觅诗意的雅致审美。",[7,23,209,28,27,83,9259,11917,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c858f941ffcace6d9f65b301b5c99f.jpg",[],{"id":33423,"slug":33424,"title":33425,"dynasty":18,"author":5346,"museum":311,"description":33426,"tags":33427,"thumbUrl":33428,"material":139,"size":139,"collection":139,"collections":33429,"showCount":33252,"zanCount":2209,"manualWeight":48,"mainColor":94},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[7,23,24,25,173,177,86,263,29,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":33431,"slug":33432,"title":33433,"dynasty":18,"author":418,"museum":311,"description":28575,"tags":33434,"thumbUrl":33435,"material":139,"size":139,"collection":139,"collections":33436,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":94},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷",[7,23,24,25,28,173,83,1353,370,759,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],{"id":33438,"slug":33439,"title":33440,"dynasty":18,"author":3177,"museum":311,"description":33441,"tags":33442,"thumbUrl":33443,"material":139,"size":139,"collection":139,"collections":33444,"showCount":33252,"zanCount":2209,"manualWeight":48,"mainColor":49},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[7,209,23,25,28,27,150,106,86,263,178],"https:\u002F\u002Foss.chuangqi.store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[1] 题识：“老迟洪绶画于狮子林。” 钤“陈洪绶印”白文印，“章侯氏”朱文印。陈洪绶（1598—1652）， 字章侯，号老莲、老迟，晚号悔迟、云门僧等。诸暨（今浙江诸暨）人。善山水、花鸟，尤精人物，世所罕及。与崔子忠齐名，称“南陈北崔”。",[7,23,24,225,28,27,106,228,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6430abb4d4cf493e0e01578a4f3f6554.jpg","纵118厘米，横55厘米",[],{"id":33622,"slug":33623,"title":33624,"dynasty":189,"author":13039,"museum":206,"description":33625,"tags":33626,"thumbUrl":33627,"material":27,"size":33628,"collection":181,"collections":33629,"showCount":33252,"zanCount":1337,"manualWeight":48,"mainColor":49},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[7,23,1218,209,225,177,27,29,174,34,176,109,35,1365,33,557,21613,1082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 160.6x104.9公分；诗塘 17.3x104.6公分；全幅 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"collection":181,"collections":33711,"showCount":33252,"zanCount":1337,"manualWeight":48,"mainColor":94},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[7,209,23,24,25,173,27,177,29,107,229,175,866,33708,466,176,34,263,86,178,1163],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 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到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[7,23,24,25,173,27,28,177,86,178,263,106,29,107,34,176,175,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","73.5x20",[163],{"id":33807,"slug":33808,"title":33809,"dynasty":189,"author":33810,"museum":2756,"description":33811,"tags":33812,"thumbUrl":33813,"material":409,"size":33814,"collection":44,"collections":33815,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":94},218245,"bin-feng-tu-lin-zi-huan-218245","豳风图","林子奂","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[7,23,24,25,244,173,86,178,263,106,29,34,266,109,108,2278,13834,770,8727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","26.5x446",[44],{"id":33817,"slug":33818,"title":33819,"dynasty":99,"author":2494,"museum":132,"description":6687,"tags":33820,"thumbUrl":33821,"material":88,"size":139,"collection":139,"collections":33822,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":94},217033,"fang-gu-shan-shui-ce-liu-kai-2-dong-qi-chang-217033","仿古山水册六开-2",[7,23,24,81,173,27,29,174,109,23401,13400,266,176,37,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705dca76b87e5d6c9999fda035dc601d.jpg",[],{"id":33824,"slug":33825,"title":33826,"dynasty":76,"author":33827,"museum":311,"description":33828,"tags":33829,"thumbUrl":33830,"material":173,"size":33831,"collection":328,"collections":33832,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":94},215143,"min-sheng-yan-chang-tu-juan-ti-ba-pu-sa-bao-215143","闽省盐场图卷-题跋","菩薩保","清朝时期的闽省盐场图卷是一组图画，其中包含了当时闽省的盐场的景象。这些图卷通常都有题跋，即对图卷内容的文字说明。根据题跋介绍，这些图卷可能描绘了盐场的布局、生产过程、以及当时的盐业政策等信息。菩薩保是清朝时期的一位著名画家，他创作的闽省盐场图卷在当时颇受欢迎。",[7,24,25,178,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7031c098e33d9c148e9da888311d124b.jpg","38x860",[328],{"id":33834,"slug":33835,"title":33836,"dynasty":99,"author":170,"museum":2958,"description":5097,"tags":33837,"thumbUrl":33838,"material":409,"size":139,"collection":139,"collections":33839,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":94},214918,"mo-hua-ce-8-shen-zhou-214918","墨花册-8",[7,23,173,83,2266,759,81,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b4dafcaa7ff5923881cdc17d910b6f9.jpg",[],{"id":33841,"slug":33842,"title":33843,"dynasty":99,"author":33844,"museum":78,"description":33845,"tags":33846,"thumbUrl":33847,"material":139,"size":139,"collection":90,"collections":33848,"showCount":33252,"zanCount":48,"manualWeight":48,"mainColor":33849},201826,"li-hua-shuang-niao-tu-zhou-tan-zhi-yi-201826","梨花双鸟图轴","谈志伊","双鸟栖于梨花枝间，一昂首似盼，一低首若思，羽色明丽：墨羽衬粉腹，红喙点翠冠，姿态鲜活传神。梨花以淡墨勾描轮廓，填染白粉，清雅如凝雪；枝叶用细劲线条勾勒，敷以浅绿，晕染细腻自然。绢本底色古朴温润，与花鸟的鲜妍相映成趣，营造出静谧悠然的意境。工笔技法精巧，线条婉转，设色雅致，既显自然生机，又蕴文人雅趣，仿佛春风拂过，梨花轻颤，鸟鸣声幽，尽显传统花鸟之韵致。",[28,83,27,1409,266,225,23,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f104372fc2a4f302977798c26fb281.jpg",[90],"98815c",{"id":33851,"slug":33852,"title":33853,"dynasty":76,"author":7373,"museum":311,"description":33854,"tags":33855,"thumbUrl":33856,"material":2164,"size":2165,"collection":139,"collections":33857,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":255},290452,"shu-fa-li-zhou-qian-long-290452","书法立轴","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[7,86,225,178,263,243,84,65,29332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20014fbbbca23c3809a74e13bfaf1bef.jpg",[],35,{"id":33860,"slug":33861,"title":33862,"dynasty":277,"author":33863,"museum":311,"description":33864,"tags":33865,"thumbUrl":33866,"material":2164,"size":2165,"collection":139,"collections":33867,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},290025,"mo-pu-tao-tu-cui-lang-gu-290025","墨葡萄图","崔浪谷","此作用通景八屏铺陈藤蔓葡萄，老干以焦墨写出，苍劲如屈铁，虬曲回旋将八幅连为整体，满溢蓬勃生机。\n\n葡萄以没骨晕染，墨色浓淡相衬，似见颗颗晶莹饱满，垂坠枝桠间尽显鲜活野趣。叶片以干湿浓淡区分正反向背，写意笔触随性却神完气足，藤蔓游丝牵连，尽展舒展之姿。\n\n落款轻落边角，隐于枝叶间不抢画面风采，尽显文人画雅致意趣。全作以水墨写就，舍去敷色，以墨色幻化尽显满架葡萄的丰润，将蔬果鲜活与文人疏朗逸气相融，寥寥笔墨间尽显写意花鸟的风神韵味。",[7,23,24,25,173,83,2569,606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17d066d27c4a3f33bf5fde2af56c79a.jpg",[],{"id":33869,"slug":33870,"title":999,"dynasty":18,"author":3466,"museum":311,"description":33871,"tags":33872,"thumbUrl":33873,"material":2164,"size":2165,"collection":139,"collections":33874,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":49},289883,"mu-niu-tu-mu-xi-289883","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[7,209,23,225,173,106,151,865,2019,1542,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aebcdcc31240055baee615d070987a9.jpg",[],{"id":33876,"slug":33877,"title":15158,"dynasty":18,"author":1395,"museum":311,"description":33878,"tags":33879,"thumbUrl":33881,"material":2164,"size":2165,"collection":139,"collections":33882,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},289593,"hao-liang-qiu-shui-tu-li-tang-289593","描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。",[7,23,209,25,173,1218,177,109,176,9889,106,33880],"观水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff100ffd5335783d2d72685d2283a1273.jpg",[],{"id":33884,"slug":33885,"title":33886,"dynasty":18,"author":13876,"museum":311,"description":33887,"tags":33888,"thumbUrl":33891,"material":2164,"size":2165,"collection":139,"collections":33892,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},289343,"han-shan-fei-pu-tu-yang-shi-xian-289343","寒山飞瀑图","杨士贤[宋]宣和（1119至一1125）待诏。绍兴（1131至1162）间至钱塘（今杭州）复旧职，赐金带。工山水人物，师郭熙多作品小景，山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。绍兴间至钱塘（今杭州）复旧职，赐金带。工山水人物，师郭熙多作品小景，山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。《图绘宝鉴》",[7,23,209,1218,173,177,33889,1080,176,865,35,557,2019,150,33890],"寒山","清寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F433408c78ce215adab31f025490fae8a.jpg",[],{"id":33894,"slug":33895,"title":33896,"dynasty":99,"author":5161,"museum":311,"description":6514,"tags":33897,"thumbUrl":33898,"material":2164,"size":2165,"collection":139,"collections":33899,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},288021,"tao-hua-yuan-yang-tu-shan-mian-zhou-zhi-mian-288021","桃花鸳鸯图扇面",[7,1352,23,209,24,27,83,264,2053,108,1423,866,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77bf6fdf6141f8c8ffcd4f1175cbe18f.jpg",[],{"id":33901,"slug":33902,"title":33903,"dynasty":204,"author":1839,"museum":206,"description":33904,"tags":33905,"thumbUrl":33907,"material":2164,"size":2165,"collection":139,"collections":33908,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},287719,"hua-zhang-lin-xiao-yi-dong-yuan-287719","画长林萧逸","水墨画山峦层叠，林木丛聚。画中山石土坡，均用披麻皴法，只是笔法造型稍嫌刻板，乏于变化；树木平整罗列，少于掩映参差的深趣，当是出于后期画家仿作。",[7,209,23,24,225,173,177,27,29,866,107,108,109,33906],"萧逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc088b2a7379e1f7d028fe386eee872fb.jpg",[],{"id":33910,"slug":33911,"title":33912,"dynasty":18,"author":2483,"museum":206,"description":33913,"tags":33914,"thumbUrl":33916,"material":123,"size":33917,"collection":139,"collections":33918,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},287654,"ting-qin-zhai-ruan-tu-zhao-bo-ju-287654","停琴摘阮图","此幅写松石间瓜果堆盤，一人袒衣席地拨阮咸，一人背坐握羽扇倾听，横琴于膝，二童子捧壶执卷。人物、配景俱用钩勒填彩法敬谨写就，间或辅以胡粉重提、晕染，黑白相映，分外照人眼明。",[7,209,23,225,27,26,106,29,210,266,109,1365,5187,33915],"闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe887b9cd6b04bdd3756bf42bb21b33d3.jpg","125.7x51.2",[],{"id":33920,"slug":33921,"title":33922,"dynasty":99,"author":100,"museum":311,"description":25773,"tags":33923,"thumbUrl":33926,"material":2164,"size":2165,"collection":139,"collections":33927,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},287412,"jie-bo-tu-quan-juan-chou-ying-287412","揭钵图全卷",[7,23,209,25,27,106,28,243,8567,33924,7386,20567,542,33925],"神怪","天人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd300e8ce2918da53473256c6f9e1473e.jpg",[],{"id":33929,"slug":33930,"title":33931,"dynasty":189,"author":3051,"museum":311,"description":17691,"tags":33932,"thumbUrl":33933,"material":699,"size":33934,"collection":139,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松林图屏风-第二屏","长谷川","长谷川东白（长谷川等伯，1539年－1610年3月19日）是日本 画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[7,173,29,403,9573,299,4191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc11c61caf8720caa141d314a0ddd57.jpg",[],{"id":33961,"slug":33962,"title":33963,"dynasty":277,"author":278,"museum":311,"description":33964,"tags":33965,"thumbUrl":33974,"material":2164,"size":2165,"collection":139,"collections":33975,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":49},230526,"shi-yi-mian-guan-yin-xiang-yi-ming-230526","十一面观音像","整作设色古雅沉厚，主尊十一面分层布列，正容慈悲端严，余面涵摄喜怒诸相，尽显化度十方的悲悯威德。造像璎珞环身，宝饰华繁却毫无冗杂之感，衣纹敷色晕染细腻，朱金青绿交叠，旧绢底色衬得画面古穆堂皇。莲台与须弥座纹饰精丽，上方悬垂珠络宝幡，似有清灵梵风萦动。构图饱满庄重，线条劲挺兼具柔婉，融密教造像仪轨与工致绘法于一体，岁时虽磨却色泽，却愈发沉淀出静穆圣洁的宗教氛围感，尽显大乘造像慈悲庄严的神性之美。",[7,23,27,28,243,106,1554,225,33966,22298,2220,33967,33968,33969,8033,33970,33971,33972,22264,33973],"璎珞","矿物颜料","细腻线条","服饰花纹","珠宝饰品","竖幅构图","古典绘画","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3894b15baaa4a686e7c43be3c1aecf.jpg",[],{"id":33977,"slug":33978,"title":33979,"dynasty":76,"author":278,"museum":311,"description":33980,"tags":33981,"thumbUrl":33982,"material":139,"size":139,"collection":44,"collections":33983,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":629},230310,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-san-a-ge-yin-zhi-yi-ming-230310","历代帝王贵妃大臣朝服像(三阿哥胤祉)","此帧坐像工稳端严，画中男子正襟危坐，神色沉敛肃穆，尽显贵胄威仪气度。石青朝服遍饰精繁彩绣团龙补纹，针脚细密灵动，衬出礼制华贵，领间朝珠莹润垂坠，细节考究合度。髹漆宝座雕纹磅礴大气，龙纹栩栩生动，搭配铺陈的地锦纹样，烘托出庄重肃穆的庙堂氛围。\n\n整体设色典雅厚重，晕染细腻写实，将官方肖像画纪实工致的特质尽显无疑，装裱配色沉稳古雅，晕开旧时光的沉静质感，精准描摹出人物身份礼制与肖像写实的精妙融合，是庙堂肖像画的典型佳作。",[7,23,27,28,106,63,433,225,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff830a08fd4c826073b69a616c453c1b.jpg",[44],{"id":33985,"slug":33986,"title":33987,"dynasty":76,"author":1963,"museum":311,"description":33988,"tags":33989,"thumbUrl":33991,"material":139,"size":139,"collection":139,"collections":33992,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":94},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[7,23,24,25,104,27,28,106,107,29,34,120,33990,4229,27559,1069,1253,116,115,1265],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":33994,"slug":33995,"title":1214,"dynasty":99,"author":33996,"museum":311,"description":33997,"tags":33998,"thumbUrl":33999,"material":139,"size":139,"collection":139,"collections":34000,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[7,23,24,26,27,28,177,29,107,106,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":34002,"slug":34003,"title":34004,"dynasty":99,"author":25790,"museum":311,"description":34005,"tags":34006,"thumbUrl":34010,"material":139,"size":139,"collection":139,"collections":34011,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},228496,"yuan-ri-xin-nian-tu-li-shi-da-228496","元日新年图","此作用淡墨晕染出疏朗萧寒的柳林，枝桠错落萧散，衬出元日的清寒底色。河畔村舍错落，堂内乡人围坐把盏，院间孩童嬉闹、邻里揖礼贺岁，桥头水榭行人徐行，处处漫溢着新年的融融暖意。\n画家以松秀灵动的线条勾勒景物，设色简淡古雅，将冬日水乡的清寂与世俗年味相融，写实中饱含诗意。细腻铺陈江南乡间的淳朴乡风，把邻里间的新年温情藏在日常烟火里，让古朴鲜活的乡间元日跃然纸上，尽显雅致又贴近平常的画中意趣。",[7,23,173,27,106,4304,108,28166,1084,29448,109,34007,34008,34009,29452,2949,8725,18015],"水乡","新年","贺岁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6928196d431c0946ab7bed432df00a6d.jpg",[],{"id":34013,"slug":34014,"title":11238,"dynasty":189,"author":767,"museum":311,"description":34015,"tags":34016,"thumbUrl":34017,"material":139,"size":139,"collection":139,"collections":34018,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[7,23,24,25,29,177,27,34,176,468,5535,1087,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],{"id":34020,"slug":34021,"title":34022,"dynasty":189,"author":7354,"museum":311,"description":34023,"tags":34024,"thumbUrl":34025,"material":139,"size":139,"collection":139,"collections":34026,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},228051,"da-ming-gong-tu-juan-wang-zhen-peng-228051","大明宫图卷","图绘楼台魏巍，湖水环绕，拱桥横跨，一巨大的龙舟领衔，众多小龙舟奋力竞渡夺标的生动情景。\n场面宏大壮观，人、船众多，旌旗招展，鼓乐齐奏，一片观乐紧张气氛。\n全画用笔工整严谨，楼台、龙舟俯仰曲折，细入毫端，人物虽小，然各尽其态，引人入胜。\n【名称】元王振鹏金明夺锦图卷 【规格】该幅 2.124.1公分；隔水一 1.公分；隔水二 1.7公分 【收藏】 主题与关键字：春景、名胜、龙舟、宫殿、桥、池水、奇石、官员（臣）、侍从（侍女、童仆）、百姓、表演者、杂耍艺人、松、竹、杨柳、柏、庭院、栏杆、鸟笼、旗、秋千 录入：石渠宝笈初编（养心殿），下册，15页；故宫书画录（卷八），第四册，8页；故宫书画图录，第十七册，211-214页。\n王振鹏：元永嘉（今浙江温州）人。\n官至漕运千户。\n界画极工致，仁宗眷爱之，赐号孤云处士。\n运笔和墨，豪分缕析，左右高下，俯仰曲折，方员平直，曲尽其体，而神气飞动，不为法拘。\n虽入纤细，而格力超腾，非院中人所能。\n元季界画可为第一，不在郭恕先之下， 、 辈殆不如也。\n尝为大明宫图、金明池夺标图、大安阁图、水亭图等，世称绝品。",[7,23,209,25,104,244,107,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c596cd513646736bb7dfa23a00cbc29.jpg",[],{"id":34028,"slug":34029,"title":34030,"dynasty":18,"author":2483,"museum":311,"description":34031,"tags":34032,"thumbUrl":34033,"material":139,"size":139,"collection":139,"collections":34034,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},227954,"shou-shan-fu-hai-tu-zhao-bo-ju-227954","寿山福海图","此作用色古雅沉静，青绿重晕的孤峰卓立沧溟之上，石质苍润朴拙，尽显山岳沉稳厚重之态。细劲墨线勾描层叠水纹，暗合海波悠悠律动。丹红落日悬垂天际，暖赭晕染暮空，群鸦振翅穿翔于天地间，为静谧图景添了灵动生气。\n\n整体构图简括静穆，将祈福寄寓山海：青山喻绵长福泽，沧海托无涯寿数，红日高悬烘托圆满祥瑞。画作承青绿山水古意，以极简构图脱出繁复，将祝寿之旨融于渺远静阔的图景里，静中藏动，淡而有神，尽显雅致沉静的宋画意趣。",[7,209,23,24,26,27,28,29,229,109,3620,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],{"id":34036,"slug":34037,"title":34038,"dynasty":18,"author":278,"museum":311,"description":34039,"tags":34040,"thumbUrl":34041,"material":139,"size":139,"collection":90,"collections":34042,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},227901,"bai-tou-cong-zhu-tu-ye-yi-ming-227901","白头丛竹图页","《白头丛竹图》是南宋佚名创作的绢本设色画，现藏于 。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[7,209,23,24,1352,81,28,27,83,226,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[90],{"id":34044,"slug":34045,"title":34046,"dynasty":18,"author":1699,"museum":311,"description":34047,"tags":34048,"thumbUrl":34049,"material":139,"size":139,"collection":139,"collections":34050,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":49},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[7,23,24,25,29,28,173,177,734,282,34,229,866,109,35,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":34052,"slug":34053,"title":3067,"dynasty":18,"author":3584,"museum":311,"description":34054,"tags":34055,"thumbUrl":34056,"material":139,"size":139,"collection":139,"collections":34057,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},227722,"luo-shen-fu-zhao-gou-227722","重整宋家旧河山的高宗赵构，其书法水平也不一般。\n\n他的草书书法长卷《洛神赋》绢本，纵27.9cm，横398cm，辽宁省博物院藏。\n\n《洛神赋卷》未署年款，但卷末署“德寿殿书”款，钤“德寿殿御书宝”朱文印，可知是赵构做太上皇之后所作，处帝王之尊，颇具神韵。是其成熟期的作品。\n\n此卷草法出规入矩，运笔沉着浑厚，飞动流畅，虽是草书，但字字独立，字与字变化很多，字法熟练生动，提按转折无不如意，虽字与字之间无引带，仍然呈现了一气呵成、流畅自如，显示其深的书法造诣。",[7,86,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92cd4351f98e1e48eb868c2042887edd.jpg",[],{"id":34059,"slug":34060,"title":24041,"dynasty":18,"author":1677,"museum":311,"description":34061,"tags":34062,"thumbUrl":34063,"material":139,"size":139,"collection":139,"collections":34064,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":49},227634,"shan-shui-tu-ye-ma-lin-227634","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[7,23,209,27,177,81,29,174,106,866,1365,176,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98bf0a985bd51c41419d7d05703c8a3d.jpg",[],{"id":34066,"slug":34067,"title":34068,"dynasty":18,"author":1699,"museum":311,"description":34069,"tags":34070,"thumbUrl":34071,"material":139,"size":139,"collection":139,"collections":34072,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[7,23,24,209,27,28,29,106,4970,384,176,210,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],{"id":34074,"slug":34075,"title":13895,"dynasty":18,"author":13896,"museum":311,"description":34076,"tags":34077,"thumbUrl":34078,"material":139,"size":139,"collection":139,"collections":34079,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},227333,"jiu-ge-tu-zhang-dun-li-227333","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[7,209,23,24,25,28,27,106,433,37,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":34081,"slug":34082,"title":34083,"dynasty":18,"author":2028,"museum":311,"description":34084,"tags":34085,"thumbUrl":34086,"material":139,"size":139,"collection":139,"collections":34087,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[7,23,24,173,27,177,29,1265,3710,35,229,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":34089,"slug":34090,"title":34091,"dynasty":277,"author":34092,"museum":311,"description":34093,"tags":34094,"thumbUrl":34095,"material":2164,"size":2165,"collection":139,"collections":34096,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":255},225293,"yue-tian-ben-dong-jing-zhen-hai-225293","月天(本-东京)","珍海","平安时代后期三论大师。画家春日元光的孩子。... 有许多与三论、密教和净土有关的著作，包括“Kettsujo Ojoshu”。从出身开始，他就擅长艺术，并在醍醐寺和东寺留下了许多白色的图标。",[7,23,24,244,243,106,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84efdcc6b821bbb1ea0a42c4d0449105.jpg",[],{"id":34098,"slug":34099,"title":34100,"dynasty":76,"author":34101,"museum":311,"description":34102,"tags":34103,"thumbUrl":34104,"material":139,"size":139,"collection":139,"collections":34105,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},224582,"feng-xian-dao-gua-jiang-ting-xi-zhang-zhao-224582","凤仙倒挂","蒋廷锡 张照","设色明妍清润，凤仙花柔茎舒叶，艳红花瓣娇柔含露，倚石而生，野趣盎然。两只粉蝶一静一翩跹，将花畔生机尽数晕开，工细笔触晕染出蝶翼薄透肌理，花草枝叶的阴阳向背皆细腻入微，兼具工笔精致与写意雅致。\n右侧行书清劲秀雅，笔势流转间将咏花诗意娓娓道来，诗画相映，铺陈出凤仙花的幽逸品格。整幅册页雅致隽秀，融绘事笔墨与文人意趣于一体，尽显温婉雅致之美，是诗画合璧的精妙之作。",[7,23,24,81,27,28,178,83,284,940,176,512,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b550ce4b068e3759d7ebce65ce339e1.jpg",[],{"id":34107,"slug":34108,"title":34109,"dynasty":76,"author":2987,"museum":311,"description":34110,"tags":34111,"thumbUrl":34113,"material":139,"size":139,"collection":139,"collections":34114,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":49},224580,"shu-kui-xuan-hua-tu-jiang-ting-xi-224580","蜀葵萱花图","此作用没骨技法写就，构图疏朗空灵，主次有致。柔粉蜀葵袅袅舒展，花瓣晕染出轻软娇柔的质感，苍绿枝叶勾勒出阴阳向背，鲜活如生。配搭艳红榴花与橙黄萱花，冷暖色调相映，明丽雅致，将仲夏群芳盛放之态尽数铺陈。\n笔墨兼具院体的工致与文人画的秀逸，晕染细腻柔和，不见勾勒之痕却形神兼备，整体意境恬淡悠然，尽显温婉清隽的花鸟意趣，藏着中式美学里独有的夏日闲情。",[7,23,24,27,28,83,4701,34112,1629,607,263],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9121d78fdc9453ee8ae006a9bede611.jpg",[],{"id":34116,"slug":34117,"title":34118,"dynasty":76,"author":963,"museum":311,"description":34119,"tags":34120,"thumbUrl":34121,"material":139,"size":139,"collection":139,"collections":34122,"showCount":33858,"zanCount":1337,"manualWeight":48,"mainColor":255},224513,"shan-shui-tu-ce-8-kai-3-shi-tao-224513","山水图册8开-3","此作用笔纵逸朴拙，以淡赭晕染坡石，浓墨点染林木，皴擦间写出山岩苍浑肌理，远近层次随墨色虚实铺陈开来。近景村居隐于松荫之下，谷间蹊径蜿蜒向林壑深处，远景峰峦裹挟空濛岚气，将山野幽寂尽数藏于尺幅。\n\n题诗衬景，把寻幽山径、千峰如帘的诗意融于画中，尽显林泉山居的澹泊桃源之趣。虚实相生间落笔随性自在，不滞成法，将对山野深秀静穆的偏爱藏在笔底，淡墨浅彩里满是出世幽居的悠然意致。",[7,23,24,81,173,177,29,34,35,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a28274ae84fa01320bbfa5f181452.jpg",[],{"id":34124,"slug":34125,"title":34126,"dynasty":76,"author":29211,"museum":311,"description":34127,"tags":34128,"thumbUrl":34129,"material":139,"size":139,"collection":181,"collections":34130,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},224270,"shan-shui-hua-hui-ce-fu-shan-224270","山水花卉冊","此作用笔纵逸随性，以淡墨写垂柳长条，笔致轻柔连贯，如见春风拂柳之姿。芙蓉花以浓淡墨色晕染点簇，淡墨勾描花瓣轮廓，浓墨点苔铺叶，干湿互衬，尽显花之娇柔蓬松。\n\n画面留白疏朗，右上角题字与绘景相映成趣，诗画交融间尽显文人画萧散简淡的意韵。整幅水墨写意不重形似而尚神趣，带着林下幽人的闲适疏放，将花木清灵与文人澹泊襟怀相融，寥寥笔墨间晕染出清逸脱俗的雅致氛围。",[7,23,24,81,173,83,6516,369,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b0015526d185a3e1348fa9df2adfd1.jpg",[181,90],{"id":34132,"slug":34133,"title":34134,"dynasty":76,"author":1563,"museum":311,"description":34135,"tags":34136,"thumbUrl":34137,"material":139,"size":139,"collection":139,"collections":34138,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},224186,"hua-niao-cao-chong-tu-ba-05-hua-yan-224186","花鸟草虫图八-05","这幅花鸟图以画眉为主体，画师以细腻笔触丝写出禽鸟绒羽，蓬松柔润，画眉抬首引颈，俨然正引吭啼鸣，灵动楚楚。枯瘦枝桠以淡墨写出，间杂残红野果，设色清妍冷峭，晕染出秋深烟寒的幽寂氛围。\n\n左侧题诗与画面相映成趣，书画交融，将晚秋荒寒之境与禽鸟的缱绻情态相融，笔致秀逸空灵，尽显清隽雅致的意趣。画师将写生之真与写意之美糅合，寥寥数笔便勾勒出残秋里生机未泯的幽微景致，晕染出深秋独有的怅惘诗意。",[7,23,24,81,27,83,370,7803,2137,400,3202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7826f0cacf91bbca0594c3e632a037.jpg",[],{"id":34140,"slug":34141,"title":6449,"dynasty":18,"author":278,"museum":311,"description":34142,"tags":34143,"thumbUrl":34144,"material":139,"size":139,"collection":139,"collections":34145,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[7,23,24,25,28,244,173,27,106,263,86,4420,1115,1116,4421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":34147,"slug":34148,"title":34149,"dynasty":18,"author":278,"museum":222,"description":34150,"tags":34151,"thumbUrl":34152,"material":573,"size":34153,"collection":139,"collections":34154,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},223435,"song-mo-zhou-wen-ju-gong-zhong-tu-di-yi-duan-yi-ming-223435","宋摹周文矩宫中图（第一段）","此图是描绘宫中妇女生活的长卷，存残卷四段，画八十余人。\n《宫中图》原作已经不存在,目前所见为南宋摹本,共有三段。1947年左右散佚海外,分存在美国三个不同的博物馆。第一段藏美国克里夫兰美术馆,曾名《仕女图》第二段名《宫中图》,藏美国哈佛大学福格博物馆;第三段名《唐宫春晓图》,原为英国私人藏,现入藏美国大都会美术馆。 [1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[7,209,23,24,25,105,244,106,59,4304,210,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":34156,"slug":34157,"title":31125,"dynasty":18,"author":278,"museum":206,"description":34158,"tags":34159,"thumbUrl":34160,"material":40,"size":34161,"collection":139,"collections":34162,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},223428,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223428","观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相，但五官秀美，已流露出女性化的特质。观世音菩萨站于莲花台上，左右各有两位菩萨随侍，下方的天龙八部双手合十，向观音菩萨示敬。",[7,209,23,24,225,243,28,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3609fea6b6aec4f00edc649c4078940.jpg","127x58cm",[],{"id":34164,"slug":34165,"title":86,"dynasty":76,"author":1744,"museum":311,"description":2695,"tags":34166,"thumbUrl":34167,"material":699,"size":139,"collection":328,"collections":34168,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},223291,"shu-fa-zheng-ban-qiao-223291",[7,86,178,225,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c550b955dd9dc9b64ba0d922a1a85e0.jpg",[328],{"id":34170,"slug":34171,"title":34172,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":34173,"thumbUrl":34174,"material":67,"size":2225,"collection":139,"collections":34175,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[7,23,24,28,27,106,175,108,109,107,264,1322,176,298,114,115,34,1871,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":34177,"slug":34178,"title":34179,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":34180,"thumbUrl":34182,"material":27,"size":1608,"collection":139,"collections":34183,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},222735,"xian-e-chang-chun-tu-he-hua-yu-ci-gu-hua-lang-shi-ning-222735","仙萼长春图荷花与慈姑花",[7,23,24,81,27,28,83,136,34181,512,137],"慈姑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ad0b6a8b52b7b8263a034c82ced6e6.jpg",[],{"id":34185,"slug":34186,"title":34187,"dynasty":76,"author":336,"museum":206,"description":1605,"tags":34188,"thumbUrl":34189,"material":27,"size":1608,"collection":139,"collections":34190,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},222733,"xian-e-chang-chun-tu-cui-zhu-qian-niu-lang-shi-ning-222733","仙萼长春图翠竹牵牛",[7,209,23,24,81,28,27,83,226,20857,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e67283e0ab5abccdabbdf139080e20c.jpg",[],{"id":34192,"slug":34193,"title":34194,"dynasty":76,"author":14888,"museum":206,"description":27113,"tags":34195,"thumbUrl":34196,"material":573,"size":34197,"collection":181,"collections":34198,"showCount":33858,"zanCount":1337,"manualWeight":48,"mainColor":49},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴",[7,23,24,225,27,29,557,37,34,558,31,174,107,108,109,7944,177,1422,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[181,45],{"id":34200,"slug":34201,"title":34202,"dynasty":76,"author":4192,"museum":311,"description":15353,"tags":34203,"thumbUrl":34204,"material":1488,"size":32355,"collection":139,"collections":34205,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},222625,"shan-shui-shan-mian-4-gong-xian-222625","山水扇面-4",[7,1352,23,24,173,177,29,866,108,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030eef42f9fe02485556236ab0f68ff9.jpg",[],{"id":34207,"slug":34208,"title":34209,"dynasty":99,"author":9817,"museum":78,"description":9818,"tags":34210,"thumbUrl":34211,"material":139,"size":139,"collection":139,"collections":34212,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":94},222505,"shen-xian-tu-ce-11-zhang-lu-222505","神仙图册11",[7,23,24,81,27,106,243,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f86f8279f8525d35d5189fc4ce7660f.jpg",[],{"id":34214,"slug":34215,"title":34216,"dynasty":99,"author":25360,"museum":583,"description":29787,"tags":34217,"thumbUrl":34218,"material":841,"size":29790,"collection":181,"collections":34219,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[7,209,23,24,225,243,28,27,106,29,1365,558,1003,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[181,45],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51公分",[44,163],{"id":34256,"slug":34257,"title":34258,"dynasty":18,"author":16226,"museum":206,"description":34259,"tags":34260,"thumbUrl":34262,"material":67,"size":34263,"collection":42,"collections":34264,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[7,23,209,225,29,27,107,174,109,27147,32693,17462,1266,116,29088,34261,177],"径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[42,181,45],{"id":34266,"slug":34267,"title":34268,"dynasty":18,"author":19643,"museum":20,"description":34269,"tags":34270,"thumbUrl":34271,"material":699,"size":34272,"collection":328,"collections":34273,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},221434,"xing-zhuo-ai-tie-quan-juan-ou-yang-xiu-221434","行灼艾帖全卷","释文：\n“修啓，多日不相見，誠以區區。見發言，曾灼艾，不知體中如何？來日修偶在家，或能見過。此中醫者常有，頗非俗工，深可與之論搉也。亦有閒事，思相見。不宣。修再拜，學正足下。廿八日。”\n帖中“见发言”的“发”即欧阳修长子欧阳发。据考，此帖是欧阳修写给自己的学生焦千之的，对其身体状况表示关心，并邀其来家相见。\n关于欧书特点，苏轼评价说：“公用尖笔干墨作方阔字，清眸丰颊，进退晔如。”李东阳在帖后的诗跋中称赞欧书“宋代书家自不孤，当时只许蔡君谟。若将晋法论真印，此老风流世亦无”。\n此帖本幅及前后隔水钤“吴郡张口”“仲口”“世昌”（半印）“仪周鉴赏”“德量审定”“希逸”“江德量鉴藏印”以及项元汴、张珩等鉴藏家印记。尾纸有李东阳、翁方纲题跋。清安岐《墨缘汇观·上编》著录。",[7,24,86,178,25,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4927ee06864027294d250f9799058c.jpg","纵25厘米，横18厘米",[328],{"id":34275,"slug":34276,"title":34277,"dynasty":18,"author":3475,"museum":311,"description":18906,"tags":34278,"thumbUrl":34279,"material":67,"size":3479,"collection":139,"collections":34280,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},221327,"chao-yuan-xian-zhang-tu-di-er-duan-wu-zong-yuan-221327","朝元仙仗圖-第二段",[7,209,23,24,25,244,243,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1d50323372fd5dbe926cdd9c052086.jpg",[],{"id":34282,"slug":34283,"title":34284,"dynasty":189,"author":645,"museum":206,"description":34285,"tags":34286,"thumbUrl":34287,"material":712,"size":34288,"collection":181,"collections":34289,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[7,23,24,25,173,27,28,177,86,178,263,29,4011,18081,31,34,35,194,966,11241,4010,29166,1617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[181,45],{"id":34291,"slug":34292,"title":34293,"dynasty":76,"author":31355,"museum":311,"description":34294,"tags":34295,"thumbUrl":34296,"material":123,"size":139,"collection":181,"collections":34297,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":94},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[7,27,28,177,29,34,176,108,109,175,266,106,150,770,1871,865,1365,118,966],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[181],{"id":34299,"slug":34300,"title":34301,"dynasty":189,"author":2307,"museum":1098,"description":34302,"tags":34303,"thumbUrl":34304,"material":409,"size":139,"collection":181,"collections":34305,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":94},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[7,23,24,25,173,29,177,34,175,31,1265,35,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[181],{"id":34307,"slug":34308,"title":1462,"dynasty":76,"author":11591,"museum":311,"description":34309,"tags":34310,"thumbUrl":34311,"material":27,"size":139,"collection":181,"collections":34312,"showCount":33858,"zanCount":2209,"manualWeight":48,"mainColor":49},219836,"shan-shui-tu-ren-xiong-219836","此作以明黄为底，石青石绿晕染峰峦，跳脱传统山水的柔和基调，浓烈撞色醒目张扬。群山如利刃攒聚拔地而起，线条苍劲硬朗，勾勒出奇崛陡峭的山石肌理，带着金石般古朴质感。\n\n层叠峰峦错落排布，水色留白穿插山林间，虚实相映，令逼仄山景生出灵动空阔之意。点缀的林木或敷红或点白，为冷硬山石晕开鲜活暖意，让瑰奇山景兼具富丽堂皇与悠远意境，以极具装饰性的手法，演绎出独树一帜的工笔山水新韵。",[7,23,27,26,177,29,30,34,468,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b13f78b1724169dff99021f61857a8a.jpg",[181],{"id":34314,"slug":34315,"title":34316,"dynasty":18,"author":278,"museum":447,"description":34317,"tags":34318,"thumbUrl":34319,"material":123,"size":34320,"collection":181,"collections":34321,"showCount":33858,"zanCount":48,"manualWeight":48,"mainColor":49},219812,"dong-xue-mu-gui-tu-yi-ming-219812","冬雪牧归图","寒林雪野，天地浸在清寂冷冽之中。枯木槎桠凝着残雪，枝梢瘦硬老辣，将冬日荒寒铺陈开来。淡墨晕染出覆雪平野，留白处尽是冬日的空濛静谧。\n\n骑牛牧童裹衣缓行，牛蹄轻踏积雪，打破了郊野的岑寂。萧寒雪景里，归牧的悠然自成暖意，一动一静间，把山野冬日的孤清和归家的温软相融。笔墨极简却意蕴悠长，以简驭繁，将冬日郊野淡远安闲的诗意尽藏其间，尽显雅致悠远的画中真味。",[7,23,28,27,106,151,865,11890,17829,177,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497df3615e31c5e6e8137d8b9449725.jpg","纵107.20 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全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[7,23,209,25,1218,28,400,173,9981,33589,107,17492,4011,34492,34493,34494],"晨雾","春光","名胜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae990ac4d591dcb0ff85a8eb39d73a88.jpg","32.9x1581.1厘米.",[],{"id":34499,"slug":34500,"title":34501,"dynasty":99,"author":1014,"museum":222,"description":34502,"tags":34503,"thumbUrl":34504,"material":67,"size":34505,"collection":139,"collections":34506,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[7,23,24,225,173,27,29,106,1365,109,558,177,866,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":34508,"slug":34509,"title":34510,"dynasty":189,"author":645,"museum":311,"description":34511,"tags":34512,"thumbUrl":34513,"material":67,"size":34514,"collection":139,"collections":34515,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[7,209,23,25,27,177,29,734,34,106,150,808,266,558,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":34517,"slug":34518,"title":34519,"dynasty":76,"author":34520,"museum":311,"description":34521,"tags":34522,"thumbUrl":34523,"material":139,"size":139,"collection":139,"collections":34524,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},230973,"su-di-xiao-xia-tu-zhu-cheng-230973","苏堤消夏图","朱偁","此作以兼工带写之笔铺陈夏意，柔柳垂条拂过崖槎，白鹭独立其上，白羽莹洁，黑喙配明黄眼眸，神态傲然灵动，尽显禽鸟生趣。下方荷塘白莲亭亭舒展，淡墨晕染荷叶，晕开江南盛夏的湿润水汽。枯木苍朴遒劲，与莲柳的清柔相映成趣。设色浅雅清和，禽鸟刻画工细鲜活，花木则写意纵逸，于尺幅间绘就苏堤消暑的幽寂闲澹，将夏日暑热里的清宁逸致娓娓道来，尽显海派花鸟灵动秀雅的风韵。",[7,23,27,83,4207,136,6516,137,658,3202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9f28911d8a7133a06f0c24a7adda13.jpg",[],{"id":34526,"slug":34527,"title":5250,"dynasty":99,"author":170,"museum":583,"description":5251,"tags":34528,"thumbUrl":34529,"material":527,"size":5254,"collection":90,"collections":34530,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},230957,"ping-he-tu-shen-zhou-230957",[7,23,24,225,27,28,136,137,228,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[90,45],{"id":34532,"slug":34533,"title":34534,"dynasty":189,"author":34535,"museum":311,"description":34536,"tags":34537,"thumbUrl":34538,"material":139,"size":139,"collection":139,"collections":34539,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},230870,"cang-lang-du-diao-tu-sheng-zhu-230870","沧浪独钓图","盛著","此作用笔清润简淡，近景坡岸虬松偃蹇，苍枝拂向水面，扁舟系于松下，渔翁垂纶独钓，汀渚蒹葭轻摇，漾出幽寂闲淡之味。平湖如镜隔开远近，彼岸林木蔚然成簇，淡墨晕染出远山层叠，云气空濛将天地晕融一处，虚实相生间铺展出萧散淡远的山水格局。\n\n画师以干笔皴擦写山石肌理，湿墨点染苔树烟岚，笔墨间藏着元人山水的林下之致，将沧浪渔隐的出世意趣融于烟水云山，把遁世忘机的雅兴寄在一竿一线之中，尽显文人画崇尚的林泉高致，满幅皆是清远脱尘的幽寂诗意。",[7,23,24,173,29,174,2790,34,109,229,177,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde68514a3c2323b7552184a3b1e22519.jpg",[],{"id":34541,"slug":34542,"title":34543,"dynasty":76,"author":34544,"museum":311,"description":34545,"tags":34546,"thumbUrl":34547,"material":2164,"size":2165,"collection":139,"collections":34548,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},230135,"huang-di-shu-fa-dui-lian-ai-xin-jue-luo-xuan-ye-230135","皇帝书法对联","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[7,86,7024,178,225,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771a21123d24bc3c55158473342d6a12.jpg",[],{"id":34550,"slug":34551,"title":18032,"dynasty":99,"author":25360,"museum":311,"description":34552,"tags":34553,"thumbUrl":34554,"material":139,"size":139,"collection":139,"collections":34555,"showCount":34428,"zanCount":2209,"manualWeight":48,"mainColor":94},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[7,23,24,25,28,27,244,177,29,106,175,109,403,226,108,1640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":34557,"slug":34558,"title":34559,"dynasty":99,"author":4290,"museum":311,"description":34560,"tags":34561,"thumbUrl":34562,"material":139,"size":139,"collection":139,"collections":34563,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},228855,"hua-hui-tu-ce-ye-wen-chu-228855","花卉图册页","折枝斜斜舒展于素纸之上，碧叶晕染出通透莹润的质感，隐现的叶脉似携着朝露清光。粉白花萼轻绽，花瓣柔媚含娇，垂首的蓓苞似攒着春日私语，将草木温婉之态藏于笔底。\n此作用淡彩没骨晕染，设色清妍秀雅，摒弃浓艳，仅以浅绛水色晕出花叶鲜活，笔致细腻温婉，静逸情思流于毫端。画面留白简淡空阔，衬出花木幽柔之美，悠悠古意漫溢纸面，尽显雅致静穆的闺阁意趣，是小品花木里的上乘之作。",[7,23,24,81,28,27,83,84,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f944568edf7a4ea2c9b422bafac893.jpg",[],{"id":34565,"slug":34566,"title":34567,"dynasty":99,"author":2146,"museum":311,"description":34568,"tags":34569,"thumbUrl":34570,"material":139,"size":139,"collection":139,"collections":34571,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[7,23,24,25,27,177,29,106,150,174,34,557,35,109,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":34573,"slug":34574,"title":34575,"dynasty":99,"author":100,"museum":311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善堂图书记”、“重华宫鉴藏宝”印。\n钤清乾隆、嘉庆二御览印。\n图左下方更有鲜红色 伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。\n存《 》册中。\n《 》著录。",[7,209,23,24,1352,27,83,28,5242,512,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b2cd2c17f1f932ab06e135ac4df848.jpg",[],{"id":34637,"slug":34638,"title":34639,"dynasty":18,"author":1395,"museum":311,"description":34640,"tags":34641,"thumbUrl":34642,"material":139,"size":139,"collection":139,"collections":34643,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[7,209,23,24,81,173,27,29,174,1365,558,109,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":34645,"slug":34646,"title":18032,"dynasty":18,"author":676,"museum":311,"description":34647,"tags":34648,"thumbUrl":34649,"material":139,"size":139,"collection":139,"collections":34650,"showCount":34428,"zanCount":2209,"manualWeight":48,"mainColor":94},227607,"lan-ting-xiu-xi-tu-li-gong-lin-227607","《李公麟兰亭修禊图》是宋朝李公麟创作的人物画，再现了当年王羲之等人雅集之状，现被私人收藏。",[7,209,23,24,27,104,29,106,107,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c442252580f8eabaa25ca0afe38259.jpg",[],{"id":34652,"slug":34653,"title":34654,"dynasty":18,"author":19529,"museum":311,"description":12238,"tags":34655,"thumbUrl":34658,"material":139,"size":139,"collection":139,"collections":34659,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）",[7,209,23,24,25,173,177,29,557,30,34,865,6868,37,33,118,106,29926,34656,34657],"秋江","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":34661,"slug":34662,"title":34663,"dynasty":18,"author":461,"museum":311,"description":34664,"tags":34665,"thumbUrl":34666,"material":139,"size":139,"collection":139,"collections":34667,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},227495,"qiu-she-tu-ye-fan-kuan-227495","秋涉图页","范宽（950-1032）宋代杰出画家。字仲立，一说中立。华原（今陕西耀县）人。北宋山水画家，生活于北宋前期，名列北宋山水画三大名家之一。因为他性情宽厚，不拘成礼，时人呼之为“宽”，遂以范宽自名。据《宣和画谱》记载，他风仪峭古，进止疏野，性嗜酒，落魄不拘世故。",[7,23,24,29,177,27,866,1423,106,150,109,734,385,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3f20715eb8a0623d5ede94214d8517.jpg",[],{"id":34669,"slug":34670,"title":34671,"dynasty":54,"author":485,"museum":311,"description":34672,"tags":34673,"thumbUrl":34674,"material":2164,"size":2165,"collection":139,"collections":34675,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":629},227078,"yi-yu-lai-wang-tu-ye-yan-li-ben-227078","异域来王图页","此幅应为伪本",[7,23,209,24,81,27,28,106,808,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfae74aa3a781c82197b6a3cd63ac32.jpg",[],{"id":34677,"slug":34678,"title":34679,"dynasty":76,"author":21699,"museum":311,"description":34680,"tags":34681,"thumbUrl":34682,"material":139,"size":139,"collection":139,"collections":34683,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},226629,"si-shi-shan-shui-02-pu-ru-226629","四时山水02","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[7,23,24,209,225,173,27,29,229,1365,266,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbaef9558d710642e3f6aa6b5a09eb.jpg",[],{"id":34685,"slug":34686,"title":34687,"dynasty":8433,"author":278,"museum":311,"description":34688,"tags":34689,"thumbUrl":34690,"material":2164,"size":2165,"collection":139,"collections":34691,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},226523,"yuan-xie-mu-zhi-yi-ming-226523","元勰墓誌","北魏《元勰墓志》太师领司徒公彭城王元勰墓志：永平六年岁在戊子十一月六日（ 508年），志高 62.5，广 59.6CM，十五行，行十七字，末另有两行，字略小，行二列，列九至十六字不等，正书。一九一九年洛阳城北张羊村西一里出土。曾归武进陶兰泉。元勰（ 473— 508年）本名拓跋勰，字彦和，北魏政治家、诗人。献文帝子，孝文帝元宏的弟弟，初封始平王，后改封彭城王，并得到孝文帝信任，官至尚书、侍中。孝文帝在 498年死后，元勰辅佐孝文帝长子宣武帝元恪，虽得到好评，但也因此受到宣武帝及宣武帝舅舅高肇的怀疑，被迫在 508年自杀。",[7,620,86,621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75114233aa1d9a758e08438b517d7c9f.jpg",[],{"id":34693,"slug":34694,"title":34695,"dynasty":76,"author":4406,"museum":56,"description":34696,"tags":34697,"thumbUrl":34698,"material":12420,"size":34699,"collection":181,"collections":34700,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},224487,"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[7,23,27,177,29,557,34,1365,770,468,558,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","151cmx66cm",[181],{"id":34702,"slug":34703,"title":34704,"dynasty":76,"author":7940,"museum":311,"description":34705,"tags":34706,"thumbUrl":34707,"material":139,"size":139,"collection":139,"collections":34708,"showCount":34428,"zanCount":1337,"manualWeight":48,"mainColor":94},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[7,23,24,225,173,177,105,29,734,4656,34,37,558,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":34710,"slug":34711,"title":34712,"dynasty":76,"author":30146,"museum":311,"description":34713,"tags":34714,"thumbUrl":34715,"material":139,"size":139,"collection":139,"collections":34716,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},224348,"hua-yu-wang-cheng-pei-224348","花鱼","整体设色清润淡雅，浅赭素底晕染出郊野荷塘的柔谧底色。青碧荷叶错落舒展，笔触细腻柔和，尽显叶片的舒展肌理。嫩黄荷花亭亭玉立，娇柔的花瓣晕染出清润生机。水草丛生以写意笔触绘就，浅淡墨色晕染出郊野塘岸的野趣。几尾小鱼线条灵动轻盈，悠游穿梭在水间，将池水的空寂与鲜活融为一体。画作在极简构图间藏着悠然禅意，无繁复铺陈，以淡彩晕开清和静谧的夏日氛围，把荷塘一隅的鲜活雅致勾勒尽致，尽显文人画的松弛恬淡与清雅意趣，尽显中式美学的悠然韵味。",[7,23,24,81,28,27,83,227,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70272027dd70c00ffffadaec8b4ec100.jpg",[],{"id":34718,"slug":34719,"title":34720,"dynasty":76,"author":34721,"museum":311,"description":34722,"tags":34723,"thumbUrl":34724,"material":139,"size":139,"collection":139,"collections":34725,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[7,23,24,25,27,28,104,106,107,108,34,266,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":34727,"slug":34728,"title":34729,"dynasty":76,"author":1929,"museum":311,"description":34730,"tags":34731,"thumbUrl":34732,"material":139,"size":139,"collection":90,"collections":34733,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},224320,"hua-niao-shi-er-kai-tu-li-shan-224320","花鸟十二开图","泼墨写就湖石，酣畅间尽显灵秀通透，似藏嶙峋古意。石畔花枝挺秀，粉紫娇花轻点晕染，明雅柔丽的设色晕开春日清趣。双鸡意态生动，一昂首侧目警觉周遭动静，一垂首理羽尽显慵懒闲适。禽鸟羽毛以淡墨晕染辅以细笔轻勾，将绒羽蓬松柔润的质感尽数铺陈。\n\n左畔行书款识笔意潇洒，与写意画格相融，诗书画印浑然一体。整幅兼工带写，既有文人写意的简逸纵恣，又不失精微写实的生趣，将花木禽鸟的天趣雅致藏于笔端，尽显悠然野逸的林下清致。",[7,23,24,81,173,27,83,229,1628,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04865c6f750cd80cf1f66c8c803e6a71.jpg",[90],{"id":34735,"slug":34736,"title":34737,"dynasty":76,"author":1563,"museum":311,"description":34738,"tags":34739,"thumbUrl":34740,"material":139,"size":139,"collection":139,"collections":34741,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[7,23,24,209,81,27,173,83,511,606,607,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],{"id":34743,"slug":34744,"title":34745,"dynasty":18,"author":278,"museum":311,"description":34746,"tags":34747,"thumbUrl":34749,"material":139,"size":139,"collection":139,"collections":34750,"showCount":34428,"zanCount":1337,"manualWeight":48,"mainColor":49},223643,"liao-gui-tu-yi-ming-223643","蓼龟图","此作构图疏淡清寂，以淡赭铺陈出秋日汀洲的柔和底色。坡石间灵龟敛息静伏，背甲纹理勾勒写实，憨态稚拙尽显。旁侧蓼花柔茎舒展，青绿叶片晕染雅致，淡紫碎花垂曳生姿，下方蓝紫小花点缀水岸，野趣悠然。\n画作工写相融，灵龟与花木刻画精细，设色清雅柔和，大片留白烘托出幽谧空寂的意境，尽显宋人小品的雅致意趣，将郊野闲逸之景凝于尺幅间，藏着对自然细微之美的敏锐体察，晕开悠然沉静的田园诗意。",[7,209,23,24,81,28,27,83,808,3690,34748,229,284],"蓼草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152a688c269.jpg",[],{"id":34752,"slug":34753,"title":34754,"dynasty":18,"author":278,"museum":311,"description":34755,"tags":34756,"thumbUrl":34757,"material":40,"size":34758,"collection":42,"collections":34759,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[7,23,24,1218,27,28,177,403,107,176,34,109,1265,37,114,1266,1082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[42,181,163],{"id":34761,"slug":34762,"title":24692,"dynasty":18,"author":278,"museum":34763,"description":34764,"tags":34765,"thumbUrl":34766,"material":67,"size":34767,"collection":139,"collections":34768,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":629},223409,"ru-yi-lun-guan-yin-tu-yi-ming-223409","英国不列颠博物馆","如意轮观音是密宗六观音之一，其形象一般为六臂，至于手持之物和结印，则依不同经典而有别，但一般因持有如意宝珠和宝轮而称之为如意轮观音。六臂表示能游于六道，解除六道众生的诸种苦恼。",[7,209,23,24,225,243,28,27,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b67a20266f43fbe0dead932e5b9e98a.jpg","纵127.8厘米 横64.5厘米",[],{"id":34770,"slug":34771,"title":34772,"dynasty":18,"author":278,"museum":206,"description":34773,"tags":34774,"thumbUrl":34775,"material":302,"size":34776,"collection":139,"collections":34777,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[7,23,25,28,27,244,106,115,34,107,806,1322,1641,59,229,175,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],{"id":34779,"slug":34780,"title":19422,"dynasty":76,"author":18846,"museum":311,"description":18847,"tags":34781,"thumbUrl":34782,"material":699,"size":139,"collection":328,"collections":34783,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},223270,"shou-gao-hong-yi-fa-shi-223270",[7,24,86,178,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba929a2566c55462d1563549dbb0007c.jpg",[328],{"id":34785,"slug":34786,"title":16811,"dynasty":76,"author":14925,"museum":206,"description":34787,"tags":34788,"thumbUrl":34789,"material":27,"size":34790,"collection":139,"collections":34791,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[7,23,29,225,105,177,27,734,282,1365,114,108,558,34,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":34793,"slug":34794,"title":34795,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":34796,"thumbUrl":34797,"material":67,"size":2225,"collection":139,"collections":34798,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[7,23,24,81,28,27,104,106,150,107,29,34,108,35,1322,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":34800,"slug":34801,"title":16576,"dynasty":99,"author":27096,"museum":101,"description":34802,"tags":34803,"thumbUrl":34804,"material":34805,"size":34806,"collection":181,"collections":34807,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},222835,"shan-shui-tu-zhou-xiao-yun-cong-222835","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑孰画派创始人。其父萧慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。",[7,23,173,177,225,29,176,34,109,175,1265,1269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9506285d1f977096cfef7d4935bf92db.jpg","轴","67×52cm",[181,45],{"id":34809,"slug":34810,"title":23593,"dynasty":76,"author":336,"museum":206,"description":23594,"tags":34811,"thumbUrl":34814,"material":40,"size":23600,"collection":90,"collections":34815,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},222794,"jin-chun-tu-lang-shi-ning-222794",[7,209,23,27,83,3168,3722,84,34812,34813,8725],"山涧","杂卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1bcec4cb1230187f87809e407b8069.jpg",[90,45],{"id":34817,"slug":34818,"title":34819,"dynasty":76,"author":34820,"museum":311,"description":34821,"tags":34822,"thumbUrl":34823,"material":1271,"size":139,"collection":181,"collections":34824,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},222711,"mo-bi-shan-shui-zhong-tang-zheng-min-222711","墨笔山水中堂","郑旼","水墨绘远处山石连绵，中部河道宽广，河面一条船只行驶；近处岸边树木葱郁。技法上，山石以细墨勾皴，再以墨点绘树木绿植，画上有画家自题诗一首。郑旼，字慕倩，号遗娃，善画山水，工诗文，尤工篆刻，新安派画家之一。",[7,23,24,29,225,173,177,734,384,229,109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7d2495e8028e35e34df00482f874b8.jpg",[181,163],{"id":34826,"slug":34827,"title":34828,"dynasty":99,"author":34829,"museum":311,"description":34830,"tags":34831,"thumbUrl":34832,"material":40,"size":34833,"collection":181,"collections":34834,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},222163,"qi-ma-you-shan-tu-liu-yan-222163","骑马游山图","刘琰","图绘崇山峻岭中一座高楼映入眼帘，飞檐立柱，高大宏伟；屋前树木葱郁，繁花开放，一位红衣男子骑马停步赏景！此幅图的山脉绿树画法很具特色，与同时代画家蓝瑛有相似之处。",[7,23,27,28,104,29,106,150,107,34,176,2137,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f2a66c07d9c664105cdc11e6d8c1b.jpg","纵49cm，横67cm",[181,163],{"id":34836,"slug":34837,"title":34838,"dynasty":99,"author":34839,"museum":583,"description":34840,"tags":34841,"thumbUrl":34842,"material":3518,"size":34843,"collection":90,"collections":34844,"showCount":34428,"zanCount":1337,"manualWeight":48,"mainColor":49},222051,"bing-hun-leng-rui-tu-wang-qian-222051","冰魂冷蕊图","王谦","用墨笔截取倒垂老梅，枝干劲健挺拔，梅花双勾而成，繁花密蕊，清奇可爱。 以淡墨晕染绢地，更衬托出梅花凄厉冷艳的姿色。 作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[7,23,209,24,173,400,402,229,658,1629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","纵186cm，横111cm",[90,45],{"id":34846,"slug":34847,"title":34848,"dynasty":189,"author":34849,"museum":101,"description":34850,"tags":34851,"thumbUrl":34852,"material":173,"size":34853,"collection":139,"collections":34854,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[7,209,23,24,25,244,173,106,29,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":34856,"slug":34857,"title":34858,"dynasty":18,"author":11652,"museum":20,"description":34859,"tags":34860,"thumbUrl":34862,"material":40,"size":34863,"collection":42,"collections":34864,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},221583,"bu-chu-tu-ye-li-an-zhong-221583","哺雏图页","图中寒冬中二枝芦苇业已枯败，杆上有三只鸟儿栖息，其中鸟父母嘴里叨着虫子向中间小的鸟儿走来，喂食它们的孩儿。图上芦苇叶子描画精细，正翻面和缺口自然显现；鸟儿的眼神专注，将父母对子女无私的爱自然流露出来。",[7,209,23,24,81,28,27,83,226,370,34861],"雏鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8da06ac16d1aa8ac5e037145a98372f.jpg","22.8*24cm",[42,90,45],{"id":34866,"slug":34867,"title":34868,"dynasty":18,"author":9659,"museum":20,"description":34869,"tags":34870,"thumbUrl":34871,"material":67,"size":34872,"collection":42,"collections":34873,"showCount":34428,"zanCount":2209,"manualWeight":48,"mainColor":94},221467,"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[7,209,23,24,25,173,178,402,1775,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[42,90],{"id":34875,"slug":34876,"title":34877,"dynasty":18,"author":12247,"museum":311,"description":34878,"tags":34879,"thumbUrl":34880,"material":67,"size":34881,"collection":42,"collections":34882,"showCount":34428,"zanCount":2209,"manualWeight":48,"mainColor":49},221366,"xi-cheng-tu-juan-qiao-zhong-chang-221366","西成图卷","(公元12世紀)河中(今山西永濟)人，生卒年不詳。工雜畫，尤擅人物道釋故事畫，師法李公麟。靖康之變(1126)，金人圍城中思歸，一日作《河中圖》贈邵澤民侍郎。南宋·鄧椿《畫繼》卷四，著錄其畫跡有《龍宮散齋圖》《山居羅漢圖》《淵明聽松風圖》《李白捉月圖》《玄真子西塞山圖》《列子御風圖》等，然至今罕見。\n傳世作品有《赤壁圖》卷，紙本，墨筆，描繪蘇軾《後赤壁賦》中情節，並分段書寫賦文。山水人物筆法近李公麟，但不為成法所囿，用筆簡率生拙，氣韻野逸。卷後有宣和五年(1123)八月七日趙德麟題跋，還有武聖可和趙巖題跋，清乾隆皇帝御書引首“尺幅江山”四字，曾入清乾隆內府，乾隆為畫題簽，《石渠寶笈初編》著錄，現藏美國納爾遜·艾特金斯美術館。",[7,23,24,25,27,28,106,151,150,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d484bb6e65e23609df02830938b7a.jpg","21.3x82",[42,44,45],{"id":34884,"slug":34885,"title":34886,"dynasty":18,"author":13896,"museum":20,"description":34887,"tags":34888,"thumbUrl":34889,"material":573,"size":34890,"collection":181,"collections":34891,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},221216,"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","張敦禮 ，熙寧元年選尚英宗女祁國長公主，授左衞將軍、駙馬都尉，遷密州觀察使。元祐初，疏言：“變法易令，始於王安石，成於蔡確。近者退確進司馬光，以臣觀之，所得多矣。”進武勝軍留後。",[7,23,209,81,27,177,104,86,263,29,403,107,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38201b375c0d8926df9611e75942c0b.jpg","25X29厘米",[181,45],{"id":34893,"slug":34894,"title":34895,"dynasty":54,"author":34896,"museum":311,"description":34897,"tags":34898,"thumbUrl":34899,"material":34900,"size":34901,"collection":328,"collections":34902,"showCount":34428,"zanCount":2209,"manualWeight":48,"mainColor":49},221072,"shi-ting-ji-qian-qiu-ting-ji-guo-yan-jin-221072","石亭记千秋亭记","郭延瑾","千秋亭原名石亭，唐开元十八年铜山县尉崔文邕创建，开元十九年改称千秋亭，诗序可证。清末康有为曾得《千秋亭记》拓本，秘不示人，潜心摩习。古文字学家、金石篆刻家、书法家商承柞先生认为：“康氏得此拓本后，视为至宝，刻意摹写，并在该刻笔势的基础上，予以进一步的夸张，遂成‘康体’”。今亭和刻石皆废，仅拓片传世。",[7,620,86,621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd0d86f8c3560f5c4efd900e5c6e87.jpg","宣纸微喷","108.6*51.51厘米",[328,2097],{"id":34904,"slug":34905,"title":34906,"dynasty":949,"author":22824,"museum":9137,"description":22825,"tags":34907,"thumbUrl":34908,"material":3812,"size":139,"collection":139,"collections":34909,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},220487,"qiu-lu-tu-lin-feng-mian-220487","秋鹭图",[7,23,173,266,3899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b252b0f31d2532d468749936e84cdea.jpg",[],{"id":34911,"slug":34912,"title":34913,"dynasty":99,"author":34914,"museum":1098,"description":34915,"tags":34916,"thumbUrl":34917,"material":123,"size":34918,"collection":44,"collections":34919,"showCount":34428,"zanCount":2209,"manualWeight":48,"mainColor":49},220128,"du-hai-luo-han-tu-su-zhen-tai-hou-220128","渡海罗汉图","肃贞太后","此幅题：大明万历岁次庚戌年（1610年）明肃贞寿端献恭熹皇太后绘造。钤：慈圣宣文明肃贞寿端献恭熹皇太后宝 朱文大印。",[7,23,28,27,243,106,18311,3191,37,6728,939,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbbf336f92353f10e54e65388754bb.jpg","146.9×81.5厘米",[44],{"id":34921,"slug":34922,"title":34923,"dynasty":99,"author":2242,"museum":101,"description":34924,"tags":34925,"thumbUrl":34926,"material":88,"size":34927,"collection":181,"collections":34928,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},220051,"luo-bi-yan-yun-tu-chen-chun-220051","落笔烟云图","绘山水相连，几叶扁舟顺风而下，房子、小亭依山而建，好一派清静优雅的景像！此卷用笔略显轻浮，题款亦不真，或是托名之作。",[7,23,25,173,400,29,174,108,109,34,176,35,266,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74da3cb2410a235ae2231e497fab346d.jpg","32.7cm×750.6cm",[181],{"id":34930,"slug":34931,"title":34932,"dynasty":99,"author":10071,"museum":101,"description":34933,"tags":34934,"thumbUrl":34941,"material":699,"size":34942,"collection":181,"collections":34943,"showCount":34428,"zanCount":2209,"manualWeight":48,"mainColor":94},219987,"si-shi-fang-gu-shan-shui-tu-wei-zhi-ke-219987","四时仿古山水图","此长卷以淡墨浅彩铺展四时景致，移步换景间尽显文人山水意趣。画家以细劲淡笔勾勒山峦脉络，皴擦出岩岫肌理，林木点染疏密有致，随季候变换枯荣：春山明润，新枝浅黛；夏木蓊郁，浓荫藏亭；秋林萧疏，霜色点染；冬岭清寂，寒石留白。屋舍田圃错落丘壑间，溪泉萦回穿绕林麓，将四时山光物候悄然串联。整体气韵淡逸简远，师古而不拘泥，把仿古山水的程式笔墨化为灵动的丘园胜境，藏着古人寄迹林泉的隐逸幽怀，尽显雅致空灵的山水风神。",[7,23,25,34935,173,27,177,29,34936,34937,5613,34938,4970,34939,32752,1087,32694,13620,34940],"仿古山水","春山","夏木","冬岭","田圃","淡逸空灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b366db58b957e2587f750331f4c4cf3.jpg","105.83×59.58cm",[181],{"id":34945,"slug":34946,"title":34947,"dynasty":99,"author":1362,"museum":101,"description":34948,"tags":34949,"thumbUrl":34950,"material":88,"size":34951,"collection":44,"collections":34952,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[7,23,24,25,173,177,29,384,6152,175,283,35,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[44],{"id":34954,"slug":34955,"title":34956,"dynasty":18,"author":1395,"museum":206,"description":34957,"tags":34958,"thumbUrl":34959,"material":67,"size":34960,"collection":45,"collections":34961,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},219923,"ru-niu-tu-zhou-li-tang-219923","乳牛图轴","一位牧童趴伏于母牛背上，小牛跟随在后，引颈低呼，老牛摇尾相应，母子亲情，描写欲活。本幅并无作者款印，裱绫有清代鉴赏家梁清标所书之题签，云：「李晞古乳牛图」。不过本幅牛体、皴石之用笔皆与李唐（西元1049－1130年）画风有别，或属明代早期之作。李唐，字晞古。河南孟县人。擅山水、人物，也长于画牛。徽宗朝进入画院，高宗建炎年间，授成忠郎衔任画院待诏。",[7,23,209,24,225,28,27,151,808,737,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c355d617f6a550dbb9e6d783bb802e6.jpg","46.4x62.5",[45],{"id":34963,"slug":34964,"title":34965,"dynasty":99,"author":278,"museum":311,"description":34966,"tags":34967,"thumbUrl":34968,"material":123,"size":34969,"collection":90,"collections":34970,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":49},219906,"xuan-kui-shuang-li-tu-yi-ming-219906","萱葵双鹂图","垂柳叶丝轻曳水畔，两只黄鹂栖停枝梢，翅羽晕染细腻绵密，灵动身姿似正私语嬉游。左侧蜀葵攒簇粉艳花团，浓绿叶片饱满鲜活，下方萱花舒展素白瓣朵，依偎嶙峋湖石而生。\n\n整作设色古雅沉稳，沉褐绢底衬得花叶明丽、禽鸟娇俏。工笔晕染精妙入微，将蜀葵秾艳、萱花清柔，黄鹂的娇憨灵动画韵尽显，留白水岸清寂悠远，把初夏水畔的闲静生机凝于绢上，笔致工秀柔和，揉合雅致野趣，尽显悠然清逸的隐逸意趣。",[7,23,27,28,83,978,4701,1322,176,14758,266,84,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1ccf1c70a12fed695098a1073e3dd5.jpg","纵118厘米 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被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[7,23,24,81,173,178,263,29,734,384,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e97b172d0eb3c9c22236592b7cdd2a.jpg","30.6x20.7cm",[181],{"id":35020,"slug":35021,"title":35022,"dynasty":99,"author":2494,"museum":132,"description":6687,"tags":35023,"thumbUrl":35024,"material":88,"size":139,"collection":139,"collections":35025,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":94},217032,"fang-gu-shan-shui-ce-liu-kai-3-dong-qi-chang-217032","仿古山水册六开-3",[7,23,24,81,173,177,178,86,263,29,384,558,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe610f6ed407a4bd2308e029df1f6c21f.jpg",[],{"id":35027,"slug":35028,"title":35029,"dynasty":32065,"author":950,"museum":78,"description":35030,"tags":35031,"thumbUrl":35032,"material":139,"size":139,"collection":90,"collections":35033,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":35034},202806,"ji-ju-tu-zhou-qi-bai-shi-202806","鸡菊图轴","画面以水墨写意成趣，雄鸡昂首伫立，羽毛以浓淡墨色皴染，笔触苍劲灵动，尽显其昂扬神态；旁侧菊枝舒展，花朵墨痕淋漓，花瓣层叠有致，与雄鸡的刚健形成动静相宜的呼应。整体构图疏朗却意韵饱满，墨色的干湿浓淡变化丰富，传递出质朴自然的生机与雅趣，尽显画家对生活物象的深刻体察与笔墨功底。",[23,173,83,2801,407,400,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1af34c7c8b82143b509b5676ed69522.jpg",[90],"d0cab3",{"id":35036,"slug":35037,"title":35038,"dynasty":76,"author":35039,"museum":78,"description":35040,"tags":35041,"thumbUrl":35042,"material":139,"size":139,"collection":181,"collections":35043,"showCount":34428,"zanCount":48,"manualWeight":48,"mainColor":35044},201836,"fang-ju-ran-fu-luan-nuan-cui-tu-zhou-zhang-pei-dun-201836","仿巨然浮峦暖翠图轴","张培敦","这幅画山峦层叠，峰势峻秀却不失温润，林木葱茏间溪流蜿蜒而下，亭台隐于岩壑之中，尽显江南山水的清幽雅致。笔墨运用细腻灵动，山石以皴法勾勒肌理，树木枝干虬劲，叶丛疏密有致，干湿浓淡的变化赋予画面丰富层次。整体意境静谧深远，仿佛可闻流水潺潺、松风阵阵，尽显文人山水画的意趣与神韵。",[29,173,177,175,109,105,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cbf1297b88d300aebc66e60d9904c0.jpg",[181],"93877a",{"id":35046,"slug":35047,"title":35048,"dynasty":189,"author":190,"museum":311,"description":33248,"tags":35049,"thumbUrl":35050,"material":2164,"size":2165,"collection":139,"collections":35051,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图",[7,23,25,24,29,173,177,557,34,4970,109,178,5405,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],33,{"id":35054,"slug":35055,"title":35056,"dynasty":189,"author":645,"museum":311,"description":35057,"tags":35058,"thumbUrl":35059,"material":2164,"size":2165,"collection":139,"collections":35060,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[7,209,23,225,27,29,106,1423,866,174,109,229,867,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],{"id":35062,"slug":35063,"title":35064,"dynasty":204,"author":1839,"museum":206,"description":35065,"tags":35066,"thumbUrl":35068,"material":2164,"size":2165,"collection":139,"collections":35069,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},289893,"xia-shan-yu-yu-tu-dong-yuan-289893","夏山欲雨图","作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[7,209,23,29,173,177,557,1082,2882,8925,35067,225,24],"雨意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554d2a856f62dacda937b5e2a3cce51a.jpg",[],{"id":35071,"slug":35072,"title":13352,"dynasty":18,"author":1419,"museum":311,"description":9295,"tags":35073,"thumbUrl":35074,"material":2164,"size":2165,"collection":139,"collections":35075,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},289763,"dong-shan-du-shui-tu-ma-yuan-289763",[7,209,23,24,225,173,27,106,109,29,243,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dbe032eb939aa2d084a741375cb0554.jpg",[],{"id":35077,"slug":35078,"title":35079,"dynasty":99,"author":35080,"museum":311,"description":35081,"tags":35082,"thumbUrl":35083,"material":2164,"size":2165,"collection":139,"collections":35084,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","宋旭","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[7,209,23,24,25,29,173,177,557,37,5174,107,1087,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],{"id":35086,"slug":35087,"title":6878,"dynasty":18,"author":418,"museum":311,"description":35088,"tags":35089,"thumbUrl":35090,"material":2164,"size":2165,"collection":139,"collections":35091,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},289725,"liu-ya-lu-yan-tu-zhao-ji-289725","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[7,209,23,25,3567,173,27,28,1322,3899,4272,6881,23544,10876,263,86,2789],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa7fe1a9da342eabc769e9f1cdda3f4.jpg",[],{"id":35093,"slug":35094,"title":35095,"dynasty":18,"author":2039,"museum":20,"description":35096,"tags":35097,"thumbUrl":35099,"material":40,"size":35100,"collection":42,"collections":35101,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},289326,"qian-tang-guan-chao-tu-li-song-289326","钱塘观潮图","此卷描给钱塘张潮时的壮阔景象。蒸腾鼓荡的海湖以排山倒海之势自江口流入，而江中弄潮的舟船正依次排开、逆水而上。两岸民居、城池，远山历历在目，笔法简括。 该画作用隐喻的手法表达了作者的爱国思想。",[7,209,23,25,24,173,27,29,12689,174,35098,178,86],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[42],{"id":35103,"slug":35104,"title":35105,"dynasty":204,"author":3687,"museum":311,"description":23836,"tags":35106,"thumbUrl":35107,"material":2164,"size":2165,"collection":139,"collections":35108,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷",[7,209,23,24,25,28,27,83,8304,924,266,226,84,558,314,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],{"id":35110,"slug":35111,"title":131,"dynasty":99,"author":35112,"museum":311,"description":35113,"tags":35114,"thumbUrl":35115,"material":139,"size":139,"collection":90,"collections":35116,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},234267,"hua-hui-ce-qi-xun-234267","戚勋","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[7,23,24,81,178,27,83,264,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f00fd86e3061a7f0db3faaffed7be4.jpg",[90],{"id":35118,"slug":35119,"title":35120,"dynasty":99,"author":28316,"museum":20,"description":35121,"tags":35122,"thumbUrl":35123,"material":841,"size":35124,"collection":139,"collections":35125,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":94},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[7,23,24,25,173,27,29,434,1422,178,263,177,37,475,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":35127,"slug":35128,"title":32945,"dynasty":99,"author":16949,"museum":311,"description":35129,"tags":35130,"thumbUrl":35131,"material":139,"size":139,"collection":139,"collections":35132,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},234151,"shan-shui-juan-wen-bo-ren-234151","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[7,23,25,173,177,24,29,734,282,866,108,109,174,175,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":35134,"slug":35135,"title":35136,"dynasty":18,"author":1699,"museum":206,"description":22878,"tags":35137,"thumbUrl":35138,"material":699,"size":35139,"collection":139,"collections":35140,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":49},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二",[7,23,24,25,28,27,104,86,106,107,29,150,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d948e2a41c077a21b8977f8e4dfb8a.jpg","30*386.55厘米",[],{"id":35142,"slug":35143,"title":35144,"dynasty":189,"author":3051,"museum":9826,"description":17691,"tags":35145,"thumbUrl":35146,"material":699,"size":35147,"collection":139,"collections":35148,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},232698,"gua-jia-tu-juan-qian-xuan-232698","瓜茄图卷",[7,209,23,24,25,27,28,83,86,263,11481,607,2267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6384b84d66760e6e53124845392246.jpg","10.5×66.5cm",[],{"id":35150,"slug":35151,"title":35152,"dynasty":18,"author":676,"museum":20,"description":35153,"tags":35154,"thumbUrl":35155,"material":699,"size":35156,"collection":139,"collections":35157,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},232627,"xi-yue-jiang-ling-tu-juan-quan-juan-li-gong-lin-232627","西岳降灵图卷全卷","《西岳降灵图》图卷描绘了各种形形色色人物，包括贵族及其眷属随从，甚至市井中的商人、乞丐、渔父、玩把戏的等等。在不同的程度上表现了各种人的特点。道教画放手描写市井人物，因为道教相信神仙会隐迹在普通人群中间，可以具有普通人的外表。因而这样的道教画又具有了风俗画的特点。李公麟的绘画风格，是重实践而又追求清新的。\n《西岳降灵图》画卷被认为是北宋著名画家李公麟的传世名作之一。从画卷后的跋语及其所钤盖的印章来看，该画卷在明初曾为黔宁王沐英家族收藏，明成化至正德时，又流落到大太监钱宁手中，清代则为鉴藏家梁清标所有。该画卷最后的私人收藏者是近现代佛学大师、书画家、鉴藏家叶恭绰先生。特别值得一提的是，叶恭绰先生曾经的重要藏品还有《鸭头丸贴》、《毛公鼎》等等。虽然《西岳降灵图》并未见诸著录，但经许多收藏大家之手审定、珍藏，也可说是流传有序了。",[7,23,209,25,244,106,150,2279,13899,247,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fa89bfeaab83091e6e70ab92b978e3.jpg","纵26.5厘米，横513.7厘米",[],{"id":35159,"slug":35160,"title":35161,"dynasty":76,"author":34520,"museum":311,"description":35162,"tags":35163,"thumbUrl":35164,"material":2164,"size":2165,"collection":139,"collections":35165,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},230974,"zi-wei-shuang-ya-tu-zhu-cheng-230974","紫薇双鸭图","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，浙江嘉兴人。",[7,23,225,27,83,2927,2175,28,173,452,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3621326badfd0abb6238460d188f3b31.jpg",[],{"id":35167,"slug":35168,"title":35169,"dynasty":99,"author":35170,"museum":311,"description":35171,"tags":35172,"thumbUrl":35173,"material":139,"size":139,"collection":139,"collections":35174,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},228889,"xie-sheng-you-xi-tu-juan-chen-gua-228889","写生游戏图卷","陈栝","《陈栝写生游戏图卷》是明代画家陈栝创作的一幅设色画。\n此图是陈氏写生画，图中从右至左绘牡丹、兰花、玉兰、桃花、荷花、水仙等9种花卉，花间穿插飞燕、蝴蝶、鱼虾、鸳鸯等。\n花卉没骨、双钩兼用，鸟用意笔写之，生动活泼，颇富野趣。\n画风学陈淳而琐碎过之。\n卷末左下自题“陈栝戏笔”。\n下钤“古吴陈栝”、“沱江子”二印。\n引首有清高宗弘历（乾隆皇帝）御题“造物为师”四字。\n曾经清内府收藏。\n鉴藏印有“乾隆御览之宝”、“石渠宝笈”、“嘉庆御览之宝”、“宣统御览”、“笔研精良人生一乐”等。\n清内府《石渠宝笈·初编》著录。",[7,23,24,25,27,83,266,136,369,263,1904],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86071febaedaa6fcbabea897e0e51df.jpg",[],{"id":35176,"slug":35177,"title":35178,"dynasty":99,"author":278,"museum":311,"description":35179,"tags":35180,"thumbUrl":35181,"material":139,"size":139,"collection":139,"collections":35182,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":94},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[7,23,24,25,173,29,865,229,175,177,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":35184,"slug":35185,"title":35186,"dynasty":99,"author":10306,"museum":311,"description":35187,"tags":35188,"thumbUrl":35189,"material":2164,"size":2165,"collection":139,"collections":35190,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},228393,"shi-liu-luo-han-tu-juan-wu-bin-228393","十六罗汉图卷","画卷为佛教人物题材，描绘释迦牟尼的得道弟子十六罗汉，卷首为明代书画家米万钟题引首：應真變現，卷末有汤宾尹书般若波罗蜜多心经。",[7,23,25,27,28,86,263,106,18311,34,176,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53a6c1c40c19bbcdc893c795d160448.jpg",[],{"id":35192,"slug":35193,"title":35194,"dynasty":99,"author":936,"museum":311,"description":35195,"tags":35196,"thumbUrl":35197,"material":139,"size":139,"collection":139,"collections":35198,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},228292,"li-fo-tu-chen-hong-shou-228292","礼佛图","此作用笔清劲圆韧，尽显高古奇逸之风。崖上枯松虬曲苍劲，枝桠裹挟冷冽清气，石崖趺坐的尊者素衣宽博，神色澹然，以丝缕牵出云端佛影，引渡下界向佛之心。下方沙弥合掌长跪，衣褶层叠温婉，满脸至诚恭敬。\n\n玲珑剔透的太湖石错落排布，衬出画面空灵疏朗的禅意，设色清雅柔和，仅以淡赭、浅青晕染，将出世的静穆禅韵融于尺幅之间，笔端藏着静水流深的禅思，把礼佛的虔敬化作悠远澄澈的画境。",[7,23,24,225,243,28,244,27,106,229,865,1365,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c721a086c33d6299e0b1c0e20fa17b.jpg",[],{"id":35200,"slug":35201,"title":35202,"dynasty":189,"author":17471,"museum":311,"description":35203,"tags":35204,"thumbUrl":35205,"material":139,"size":139,"collection":139,"collections":35206,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},228166,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228166","清泉乔木图立轴","此作笔意苍浑老辣，绘就冬日山林清寂之境。古松主干虬曲斑驳，疤结累累尽显沧桑，枯槎劲枝凝着寒雪，垂挂的薜萝如缕，幽幽晕开森寂古意。旁侧次干同样瘦硬嶙峋，无叶枝桠斜曳，尽展岁寒不屈之姿。\n\n下方寒泉漱石，水波清浅澹澹，淡墨晕染出空濛水岸，山石以简括皴擦带过，野趣自生。留白铺陈开空寂冷逸，将简淡疏朗融于笔墨间，寄寓着超脱尘俗的林下雅怀，清寒中见出沉静高旷的风骨。",[7,23,24,209,225,173,177,29,19573,16283,176,109,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6e577b57078bcf149c3b060edbb579.jpg",[],{"id":35208,"slug":35209,"title":35210,"dynasty":189,"author":35211,"museum":311,"description":35212,"tags":35213,"thumbUrl":35214,"material":139,"size":139,"collection":139,"collections":35215,"showCount":35052,"zanCount":1104,"manualWeight":48,"mainColor":94},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[7,23,24,25,105,28,27,86,263,106,107,34,115,228,16789,17755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e1a06d4ccdb8d1b366fe00d978d814.jpg",[],{"id":35217,"slug":35218,"title":16151,"dynasty":189,"author":3051,"museum":311,"description":17691,"tags":35219,"thumbUrl":35222,"material":2164,"size":2165,"collection":139,"collections":35223,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":49},228015,"ting-qin-tu-ye-qian-xuan-228015",[7,23,24,81,28,27,106,210,34,35220,35221,266],"椅子","小桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e714910dac008049fcf377a1fc2387.jpg",[],{"id":35225,"slug":35226,"title":35227,"dynasty":18,"author":278,"museum":311,"description":35228,"tags":35229,"thumbUrl":35230,"material":139,"size":139,"collection":139,"collections":35231,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},227936,"feng-yu-gui-zhou-tu-ye-yi-ming-227936","风雨归舟图页","这幅扇面以淡墨晕染出烟笼远岫，山影在濛濛水雾里晕开，似有风雨欲来的湿冷之意漫过江天。近岸老树虬曲偃仰，枝桠带风，坡石苍润间杂生的丛草随势披拂，暗合风动之姿。\n\n江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[7,23,24,1352,173,27,29,177,174,1542,176,34,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],{"id":35233,"slug":35234,"title":35235,"dynasty":18,"author":278,"museum":311,"description":35236,"tags":35237,"thumbUrl":35238,"material":139,"size":139,"collection":139,"collections":35239,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":255},227834,"zheng-qin-tu-ye-yi-ming-227834","争禽图页","折枝山茶斜斜铺展，莹白花朵团簇绽放，叶片晕染出浓淡层次，尽显阴阳向背的苍润生机。两只禽鸟打破静谧，一鸟振翅俯冲，姿态凌厉，细枝上的小雀瑟缩避让，将枝头争闹的瞬间精准定格。\n\n全作用笔精细入微，禽鸟纤毫毕现，山茶设色清润雅致，淡绢底色更衬古雅气韵。以小幅尺幅定格春日花鸟间的刹那灵动，把自然生趣凝练于方寸之间，尽显写生格物、以小见大的精妙造诣，生机满溢，意趣悠长。",[7,209,23,24,1352,27,28,83,266,62,853,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7afa4755efb0dfc6d21d7a5d1a31d71.jpg",[],{"id":35241,"slug":35242,"title":35243,"dynasty":18,"author":1419,"museum":311,"description":35244,"tags":35245,"thumbUrl":35246,"material":139,"size":139,"collection":139,"collections":35247,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},227823,"shi-bi-kan-yun-tu-ma-yuan-227823","石壁看云图","这幅小品以边角取景，尽显简淡空灵之美。烟雨如纱晕染朦胧江天，对岸石壁在烟霭中半隐半现，恍若蜃境。左侧老木斜出，苍枝带着疏朗新叶，探向空茫水面，与右下策杖伫立的白衣士人遥遥相望。\n\n士人昂首望云，似在静赏流云舒卷，将世俗心绪尽数融在烟水间。全作用笔苍秀简劲，以水墨晕染铺就空濛氛围感，以少胜多，把文人观云忘机、寄情山水的雅逸襟怀藏在留白之中，尽显含蓄悠远的世外意趣。",[7,23,24,1352,29,177,27,106,5891,2279,384,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4363302bd8bcc307d085b159df2b994.jpg",[],{"id":35249,"slug":35250,"title":35251,"dynasty":18,"author":1395,"museum":311,"description":32808,"tags":35252,"thumbUrl":35253,"material":139,"size":139,"collection":139,"collections":35254,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页",[7,23,173,27,177,4850,29,466,176,34,175,31,1265,1617,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837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陈草木的舒展之态，将郊原清寂又鲜活的意趣尽数定格，尽显写生花鸟的雅致野逸。",[7,23,209,24,67,27,28,83,511,2569,512,62,606,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1952844787d4fec5abf43c241f76ab44.jpg",[],{"id":35321,"slug":35322,"title":35323,"dynasty":18,"author":278,"museum":20,"description":35324,"tags":35325,"thumbUrl":35327,"material":40,"size":35328,"collection":139,"collections":35329,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},223524,"huai-yin-xiao-xia-tu-yi-ming-223524","槐荫消夏图","图绘炎炎夏日里，一处槐荫下，一高士平卧榻上，上衣半解，袒胸露乳，闭目酣睡；榻边一条案上摆着香炉、蜡台、书卷等物品，可能高士睡醒后在此读书赏画。",[7,209,23,28,27,106,35326,34,35221,300,4272,1112],"卧榻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d0ea42b1fa58b518f644456b170622.jpg","25*28.4cm",[],{"id":35331,"slug":35332,"title":35333,"dynasty":18,"author":278,"museum":20,"description":35334,"tags":35335,"thumbUrl":35336,"material":67,"size":35337,"collection":139,"collections":35338,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":49},223494,"chun-yan-tu-juan-quan-juan-yi-ming-223494","春宴图卷全卷","此图旧题“唐人春宴图”，为李世民创建文学馆，招纳贤才，杜如晦、房玄龄等被称为十八学士。此图绘十八学士集会宴饮的情景，图卷场面宏大，人物姿态各异，构图繁而不乱。",[7,23,24,25,28,27,106,150,384,19598,20511,63,9298,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5739e812fc48146e4bb8636f43c7fb7.jpg","23x573",[],{"id":35340,"slug":35341,"title":35342,"dynasty":76,"author":278,"museum":20,"description":35343,"tags":35344,"thumbUrl":35345,"material":40,"size":35346,"collection":139,"collections":35347,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},223468,"kang-xi-di-du-shu-xiang-zhou-qing-gong-ting-hua-jia-hui-yi-ming-223468","康熙帝读书像轴清宫廷画家绘","康熙皇帝自幼便广泛学习汉族传统文化知识，亲政后更是举行日讲和经筵以充实自己，他一方面身体力行地潜心钻研儒家经书，从历代丰富的典籍中汲取有益于自己治国平天下的知识，一方面通过与日讲和经筵的讲官讨论治国安邦之道逐步将孔孟之道、程朱理学确立为统治全国的官方正统思想，借以笼络汉族士大夫，掌握文化思想统治权，巩固清廷的封建统治。“尊孔崇儒”统治观念的树立，为制定、实践其文化政策奠定了坚实的基础。倘若没有饱读诗书与遍览典籍的基础，没有认真踏实、联系实际的学习，恐怕康熙帝无法完成南征北战、一统疆域的伟业，更谈不上治理天下井井有条了。\n《康熙帝读书像》轴为观者展示了大有作为的君主勤勉苦读的一面。图中康熙帝盘腿端坐，凝神静思，仿佛正在深思书中精华。身后书盈满架，排放齐整，传达出像主涉猎广泛、勤勉好学的信息。纵观全图，宫廷画家显然受到了欧洲绘画技法的影响，如人物面部的渲染，及衣服褶皱不用中国画以线条勾画的表现手法而用色彩明暗的变化加以描绘。再如人物背后的书架的透视关系与阴影的表现使用的也是欧洲绘画所特有的技法。这反映出中国画家正在初步尝试用一种外来的艺术技巧创作本国题材的绘画，这是一种有益的探索，也是中西文化交流的一个例证。",[7,23,28,27,106,5153,63,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9f45dd1e8a9ff283047c0b03cfb9791.jpg","纵138厘米，横106.5厘米",[],{"id":35349,"slug":35350,"title":35351,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":35352,"thumbUrl":35353,"material":67,"size":2225,"collection":139,"collections":35354,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},223076,"hong-lou-meng-62-sun-wen-223076","红楼梦62",[7,23,28,27,106,59,107,115,384,30158,10102,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa024d565d65c37ad592a2469e81be2d3.jpg",[],{"id":35356,"slug":35357,"title":35358,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":35359,"thumbUrl":35360,"material":67,"size":2225,"collection":139,"collections":35361,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},223072,"hong-lou-meng-58-sun-wen-223072","红楼梦58",[7,23,28,27,106,107,115,4272,34,29,264,114,32401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb184dc5ce3cbcae551dd90810e0a89.jpg",[],{"id":35363,"slug":35364,"title":35365,"dynasty":76,"author":35366,"museum":206,"description":35367,"tags":35368,"thumbUrl":35369,"material":35370,"size":35371,"collection":181,"collections":35372,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[7,23,225,29,173,27,177,734,2279,1365,108,109,35,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[181,45],{"id":35374,"slug":35375,"title":35376,"dynasty":76,"author":3388,"museum":311,"description":35377,"tags":35378,"thumbUrl":35379,"material":1411,"size":35380,"collection":139,"collections":35381,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},222825,"yu-xi-xu-gu-222825","鱼嬉","图绘水中金鱼三条，二条红白相间，一条白身红眼，水中游游弋嬉戏；水面上数要葡萄藤，宽大的葡萄叶黄灿灿，自然展开，藤上葡萄累累，令人垂涎。",[7,23,27,400,173,225,83,783,606,607,135,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7191b48084ecb908fe16b5ad2defef92.jpg","99x35厘米",[],{"id":35383,"slug":35384,"title":14490,"dynasty":99,"author":862,"museum":6249,"description":30704,"tags":35385,"thumbUrl":35386,"material":16468,"size":35387,"collection":139,"collections":35388,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},222586,"shan-shui-ren-wu-tu-lan-ying-222586",[7,23,173,177,225,29,106,174,1365,466,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396b38187718c407d8aa9bcd3330f957.jpg","纵151CM 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cm",[328],{"id":35399,"slug":35400,"title":35401,"dynasty":99,"author":28316,"museum":206,"description":35402,"tags":35403,"thumbUrl":35404,"material":88,"size":35405,"collection":181,"collections":35406,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":94},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[7,23,24,225,27,177,29,175,1365,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[181,45],{"id":35408,"slug":35409,"title":35410,"dynasty":99,"author":2146,"museum":2958,"description":13024,"tags":35411,"thumbUrl":35412,"material":699,"size":26136,"collection":139,"collections":35413,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴",[7,23,24,225,27,177,29,5183,466,108,109,34,176,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":35415,"slug":35416,"title":35417,"dynasty":99,"author":170,"museum":206,"description":2203,"tags":35418,"thumbUrl":35420,"material":699,"size":4104,"collection":139,"collections":35421,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},222105,"xie-mi-jia-shan-shen-zhou-222105","写米家山",[7,23,24,173,29,35419,81,734,384,282,37,229],"点染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82c8db68a8b575954749b6f85eccdfc.jpg",[],{"id":35423,"slug":35424,"title":35425,"dynasty":189,"author":22031,"museum":222,"description":35426,"tags":35427,"thumbUrl":35428,"material":67,"size":35429,"collection":181,"collections":35430,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":94},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[7,23,24,173,177,225,734,466,468,558,34,109,176,557,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[181,163],{"id":35432,"slug":35433,"title":35434,"dynasty":18,"author":5793,"museum":20,"description":35435,"tags":35436,"thumbUrl":35438,"material":4130,"size":35439,"collection":139,"collections":35440,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},221607,"liu-xi-wo-di-tu-liang-kai-221607","柳溪卧笛图","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[7,23,209,24,173,7834,29,106,1322,468,35437],"笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a56bcc78c55ff8ae9cf7480874e52a.jpg","26.1×26.1cm",[],{"id":35442,"slug":35443,"title":35444,"dynasty":18,"author":708,"museum":20,"description":35445,"tags":35446,"thumbUrl":35448,"material":3518,"size":35449,"collection":139,"collections":35450,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[7,209,23,24,4850,1004,173,177,29,115,35447,4272,770,176,109,7061,34,114,284],"梧树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","纵23厘米，横26厘米",[],{"id":35452,"slug":35453,"title":35454,"dynasty":18,"author":1699,"museum":20,"description":35455,"tags":35456,"thumbUrl":35457,"material":573,"size":35458,"collection":139,"collections":35459,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[7,23,24,28,27,104,29,107,1365,106,115,34,226,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":35461,"slug":35462,"title":35463,"dynasty":18,"author":9978,"museum":206,"description":35464,"tags":35465,"thumbUrl":35466,"material":67,"size":35467,"collection":328,"collections":35468,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":255},221448,"tao-qian-shang-ju-tu-quan-juan-zhao-ling-rang-221448","陶潜赏菊图全卷","描绘了幽林内、小亭中，陶渊明与访友坐对赏花，江干水渚，群卉争发，树本、房舍、池沼、小路等表现很精致，具有化平凡的事物为美丽的事物的艺术效果，设色艳丽，画中人亦无特殊造形，但拖尾诸跋，均以陶潜赏菊故事为题咏，意境颇为优美。卷尾分别有董其昌、詹同、蔡哲、中山居士、张羽、苏伯衡的跋文。",[7,23,24,25,27,28,29,106,407,175,34,2137,178,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7176750b8b30929f53c7de7d6e7f76.jpg","全卷纵30厘米，横416.4厘米，画心纵30厘米，横84厘米",[328],{"id":35470,"slug":35471,"title":35472,"dynasty":18,"author":461,"museum":206,"description":35473,"tags":35474,"thumbUrl":35475,"material":6350,"size":35476,"collection":139,"collections":35477,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},221384,"ming-hua-lin-lang-ce-qun-feng-xue-ji-fan-kuan-221384","名画琳瑯册－群峰雪霁","此作写崇山积雪，山脚并点缀密林、楼观、舟楫等。倦色黯黑，但不失古雅苍润。画中的主峰已偏一侧，且皴笔少滃染多，地质较近于土山，与记载中的范宽风格并不尽似。对幅由尹继善、刘纶、王际华、钱维城、彭元瑞、曹文埴、陈孝泳等清代臣工题咏，虽然语中对范宽多所赞誉，但无法证明本幅与范宽有关，据画风推测成作时间应在南宋以后。\n另有旧题为范宽的《山水》、《秋景山水》、《海山图》、《霍童仙界图》等数幅，虽然作品中或题“范中立”、“范宽笔”、“华原范宽”，但均与范宽的风格相去甚远，时代也无法到宋，推定是明、清时期的托名伪作。本节遂不一一叙述。",[7,209,23,24,81,29,177,173,6867,2019,13661,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7a037a9fc0181e3f16807504492c7c.jpg","纵40.7公分，横27.3公分",[],{"id":35479,"slug":35480,"title":35481,"dynasty":18,"author":676,"museum":206,"description":35482,"tags":35483,"thumbUrl":35484,"material":25202,"size":35485,"collection":42,"collections":35486,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":94},221356,"shan-yin-hui-zhan-tu-juan-li-gong-lin-221356","山阴会战图卷","李公麟（1049～1106），北宋廬州府舒城縣人（今安徽舒城人），宋代傑出畫家。字伯時,號龍眠居士，(1049-1106)享年五十七歲。熙寧三年(公元1070年)進士。李龍眠即李公麟，字伯時，安徽舒城人，因桐城郊外有一龍眠山，李公麟曾長居於山下，所以又自號龍眠居士或龍眠山人。\n出身名門大族，家藏古器名畫法書甚多，自幼知識淵博，好古善鑑，多識奇字，自夏商以來鐘鼎尊彝皆能考訂世次，辨別款識。長於詩文，行楷書有晉人風。與王安石、蘇軾、米芾、黃庭堅為至交，系駙馬王詵之座上客。熙寧三年（1070）中進士，為中書門下省刪定官，後官至朝奉郎。元符三年（1100）病痹告老，居家鄉桐城龍眠山，號龍眠居士。一生勤奮，作畫無數，人物、史實、釋道、士女、山水、鞍馬、走獸、花鳥無所不能，無所不精。人物、道釋深得吳道子旨趣，運筆如行雲流水，造型正確，神態飛動；山水氣韻清秀，得王維正傳；着色山水追李思訓心法；畫馬過韓幹。能集諸家之長，得其大成，師法自然，大膽創新，自成一家，被後代敬為第一大手筆、百代宗師。",[7,209,23,24,25,244,173,106,150,4140,557,18081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","26.6x764",[42],{"id":35488,"slug":35489,"title":25421,"dynasty":18,"author":18486,"museum":56,"description":25422,"tags":35490,"thumbUrl":35492,"material":67,"size":35493,"collection":139,"collections":35494,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},221318,"sha-ting-yan-shu-tu-hui-chong-221318",[7,23,173,29,178,263,35491,34,266,18490,86],"沙岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f44e1b10f5849bbce3c7e94e0ad3cb.jpg","纵24cm，横25cm",[],{"id":35496,"slug":35497,"title":35498,"dynasty":18,"author":17774,"museum":20,"description":25942,"tags":35499,"thumbUrl":35500,"material":699,"size":25945,"collection":139,"collections":35501,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},221233,"dao-fu-zan-juan-quan-juan-di-er-duan-fan-zhong-yan-221233","道服赞卷全卷-第二段",[7,86,621,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdbf0e7b99ee7c1648bc77cfec7a2ee.jpg",[],{"id":35503,"slug":35504,"title":35505,"dynasty":18,"author":10082,"museum":20,"description":35506,"tags":35507,"thumbUrl":35508,"material":573,"size":35509,"collection":181,"collections":35510,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},221215,"fei-ge-yan-feng-tu-ye-wang-shen-221215","飞阁延风图页","此图原载《四朝选藻册》。图绘二位仕女，佇立楼台远眺，一位站立桌旁泛览古玩，其态悠闲自在。楼前古松葱茏，亭楼隐隐可见。作者用严谨、缜密的界画作楼台，细笔勾松针，笔法娴熟劲健，设色鲜艳和谐。裱边旧题签「王詵飞阁延风」。但从画风对比分析，与王詵风格不同，故改为无名氏作。画中无款，钤二印(一半印)不可辨。对开有清高宗弘历题诗，钤「八征耄念之宝」、「太上皇帝之宝」、「自强不息」等印。曾经清内府收藏，不见著录。",[7,23,24,81,104,27,107,34,106,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddda2be2d8bd08b99a15bda9153a6936.jpg","纵26、横23.5厘米",[181,45],{"id":35512,"slug":35513,"title":35514,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":35515,"thumbUrl":35516,"material":699,"size":4054,"collection":139,"collections":35517,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},220320,"huang-shan-tu-ce-9-hong-ren-220320","黄山图册-9",[7,23,173,29,81,177,109,176,34,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3f24836a98c1dbd40e046df6418e26.jpg",[],{"id":35519,"slug":35520,"title":35521,"dynasty":76,"author":35522,"museum":20,"description":35523,"tags":35524,"thumbUrl":35525,"material":88,"size":35526,"collection":44,"collections":35527,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},219635,"song-zhi-jing-ting-song-feng-tu-liu-yu-219635","宋致静听松风图","柳遇","图中宋致头戴纱帽，身着长衫，临溪倚石侧坐，神情端凝。身后古松参天，枝繁叶茂，与怪石嶙峋、小草幽篁、溪水潺潺的景致形成高矮、动静的对比，有极强的视觉效果，强化了人物的宁静祥和，烘托了听松的主题。\n据《商邱县志》记载：宋致，字穉佳，商邱人。举乡贡，游太学，官至四川总藩、湖南布政使。性情慷慨轻财，有政事，录《可竹居诗集》。\n图中人物用勾填法表现，面部稍加晕染，衣纹飘逸，线条简洁，形象传神，突出了主人公朴实无华的个性与平和自然的心态。",[7,23,24,225,27,106,403,385,86,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8818a7ad2c54fb07fbd6b17a7bcbd712.jpg","纵102厘米，横44.6厘米",[44],{"id":35529,"slug":35530,"title":35531,"dynasty":189,"author":13039,"museum":206,"description":35532,"tags":35533,"thumbUrl":35534,"material":123,"size":35535,"collection":44,"collections":35536,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},219615,"chun-jiao-you-qi-tu-zhao-yong-219615","春郊游骑图","该幅画树下单骑一人，手中拿著弓，正转头回顾。人物形态生动自然，马匹肥大雄壮，都以中锋金绿勾画，线条谨密流畅。背景极为简单，仅是两株相抱的树木，树叶以近似图案的形式描绘，有古拙之意。作者似乎在追求著高古简逸的趣味。人物生动自然，马匹肥硕雄壮，都以中峰钩画，线条谨密流畅，背景极为简单，仅是两株相抱的树木，树石亦用近似图案的形式描绘，有高古简逸的意趣。",[7,23,225,27,28,106,150,384,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d75c27cf3a76a0e8374ea43a8b221a6.jpg","88×51.1公分",[44,181,45],{"id":35538,"slug":35539,"title":35540,"dynasty":99,"author":30311,"museum":206,"description":35541,"tags":35542,"thumbUrl":35543,"material":123,"size":35544,"collection":181,"collections":35545,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[7,23,1218,27,28,104,734,1775,34,107,31,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 91.5厘米",[181],{"id":35547,"slug":35548,"title":35549,"dynasty":99,"author":278,"museum":7087,"description":35550,"tags":35551,"thumbUrl":35552,"material":123,"size":139,"collection":90,"collections":35553,"showCount":35052,"zanCount":2209,"manualWeight":48,"mainColor":49},219119,"bai-niu-tu-yi-ming-219119","百牛图","百牛散于郊野，姿态万千：或缓步啮草，或扬蹄奔跃，或抵角相戏，或卧地休憩。稚童身影错落其间，或骑牛背悠然吹笛，或牵绳引犊徐行，或蹲踞石畔观牛群嬉戏。林木疏朗，溪流缓绕，草地茵茵，一派生机盎然的田园牧歌景象。整幅画作笔墨细腻，牛的憨态与童的天真相映成趣，尽显自然之趣与生活之美，令人仿佛置身于宁静悠远的郊野之中，心随牛群漫步，意伴稚童欢嬉，沉醉于这份恬淡自在的烟火气里。",[7,23,25,27,28,151,106,384,1003,31,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930c8aa569d3e32ea734c96bb3a9529f.jpg",[90,181],{"id":35555,"slug":35556,"title":35557,"dynasty":18,"author":278,"museum":206,"description":35558,"tags":35559,"thumbUrl":35560,"material":123,"size":14274,"collection":181,"collections":35561,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[7,23,24,29,27,104,177,175,34,107,176,2310,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg",[181],{"id":35563,"slug":35564,"title":16429,"dynasty":18,"author":278,"museum":206,"description":35565,"tags":35566,"thumbUrl":35567,"material":123,"size":35568,"collection":181,"collections":35569,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},218813,"guan-shan-xing-lv-tu-yi-ming-218813","画的是关山高远的山峰和秋天的悲凉森林，一个骑着毛驴的学子正在过一座小桥。这幅画没有标记，有两个虞姬的符号，考虑到其解体时使用的笔法，可能是元代的作品。",[7,23,24,173,27,29,177,1422,106,34,176,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b596fb7fe0dbb2cec842c835d50fd6a.jpg","26.7x27.8",[181],{"id":35571,"slug":35572,"title":35573,"dynasty":189,"author":17742,"museum":206,"description":35574,"tags":35575,"thumbUrl":35576,"material":67,"size":139,"collection":181,"collections":35577,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},218767,"xue-shan-ce-jian-tu-tang-di-218767","雪山策蹇图","寒林雪景徐徐铺展，积雪如凝玉覆于峰峦石矶，枯树虬枝盘曲，骨力尽显。山石以斧劈皴与披麻皴交错，淡墨晕染间，雪的厚重与石的坚劲相融。策蹇人衣袂轻扬，缓行于冰冽天地，渺小身影衬出旷远意境。笔墨细腻处藏文人雅致，简淡中见苍劲力道，寒寂氛围里暗蕴生机。整幅画将雪的清寂、树的孤挺、人的从容凝成一瞬，尽显元人山水空灵意韵。观者仿佛闻风雪低语，触冬日清寒，感旅人独行的淡远心境，于静谧中品得那份超脱尘嚣的悠然。",[7,209,23,24,173,27,177,29,7577,865,176,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6cb3342fada7f0c20d0e996bc177960.jpg",[181],{"id":35579,"slug":35580,"title":35581,"dynasty":99,"author":278,"museum":447,"description":3650,"tags":35582,"thumbUrl":35583,"material":88,"size":139,"collection":139,"collections":35584,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},217949,"ming-ren-shan-shui-hua-ce-liu-yi-ming-217949","明人山水画册(六)",[7,23,173,177,81,29,384,176,109,1265,3710,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020fb7e4bf77496f47c6fab3f8b8ac7.jpg",[],{"id":35586,"slug":35587,"title":35588,"dynasty":189,"author":278,"museum":311,"description":35589,"tags":35590,"thumbUrl":35591,"material":327,"size":35592,"collection":44,"collections":35593,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},216729,"cai-wen-ji-gui-han-tu-juan-yi-ming-216729","蔡文姬归汉图卷","蔡文姬归汉图卷是一幅来自中国元朝时期的绘画作品，作者不详。这幅作品描绘了蔡文姬的故事，蔡文姬是中国古代传奇人物，被认为是中国历史上最伟大的女子琴师之一。\n\n蔡文姬归汉图卷描绘了蔡文姬归汉的故事，她最终回到了中国。",[7,209,23,24,25,244,27,106,150,9007,1127,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa205e6ef03d2c82dc7ac2a4de33cb74.jpg","31.5x89.5",[44],{"id":35595,"slug":35596,"title":35597,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":35598,"thumbUrl":35599,"material":409,"size":4264,"collection":139,"collections":35600,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},214980,"dao-zi-mo-bao-ren-wu-bai-miao-hua-3-yi-ming-214980","道子墨宝人物白描画-3",[7,209,23,24,244,106,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2604a5568544450beb4aa13729ee78c1.jpg",[],{"id":35602,"slug":35603,"title":35604,"dynasty":76,"author":35605,"museum":1279,"description":35606,"tags":35607,"thumbUrl":35608,"material":409,"size":139,"collection":139,"collections":35609,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":94},214491,"fang-gu-shan-shui-tu-2-cheng-ting-lu-214491","仿古山水图-2","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[7,23,2497,27,29,174,109,106,60,81,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5615a13e6125147c6c829aecba1190.jpg",[],{"id":35611,"slug":35612,"title":35613,"dynasty":76,"author":35614,"museum":206,"description":35615,"tags":35616,"thumbUrl":35617,"material":409,"size":35618,"collection":328,"collections":35619,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":49},214315,"xing-shu-ling-hu-chu-shi-er-shou-pan-zu-yin-214315","行书令狐楚诗二首","潘祖荫","笔势流转间，行书的灵动与碑意的沉厚交织。线条粗细跌宕，如枯藤缠石，亦如流泉奔涌，墨色浓淡相宜，干湿互见，显见运笔时的从容与挥洒。结体或欹或正，顾盼有情，字间牵丝映带，既守规矩又不失活脱，似将诗中意境化入点画。章法疏朗有致，行气连贯如行云流水，每一行的节奏起伏与整体和谐感相契，读来如沐春风，又觉骨力内蕴。整幅作品于潇洒中见沉稳，灵动中藏古雅，尽显书家笔底功夫与文人气息，是清代行书佳作里兼具韵致与力道的代表，观之令人心折。",[7,86,178,173,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e32c6f9898ef196263738f087c6b30.jpg","120.4x47",[328],{"id":35621,"slug":35622,"title":11125,"dynasty":76,"author":35623,"museum":206,"description":35624,"tags":35625,"thumbUrl":35626,"material":409,"size":35627,"collection":328,"collections":35628,"showCount":35052,"zanCount":48,"manualWeight":48,"mainColor":629},214243,"xing-shu-qi-yan-lian-shen-bao-zhen-214243","沈葆桢","笔墨流转间，行书意趣淋漓。笔力遒劲如苍松，墨色浓淡相宜：浓处沉厚若坠石，淡处轻盈似流云。结体欹正相生，兼得帖学灵动韵致与碑学骨力内蕴。联语清雅质朴，木樨香里藏妙境，菜根味中得真腴，与书法风格相映成趣。线条粗细变化自然，章法疏密有致，左右呼应如琴瑟和鸣。每字皆含生机，或开张如翼，或收敛如珠，于法度中见性情，尽显文人笔墨的雅致风骨。观之如沐清风，既赏书法之美，亦悟文字所蕴的淡泊真意，堪称笔墨与心境交融的佳作。",[7,24,178,7024,173,225],"htt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学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[7,23,25,173,177,29,557,32,31,34,111,1087,107,108,1253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg",[],{"id":35771,"slug":35772,"title":35773,"dynasty":76,"author":20745,"museum":20,"description":35774,"tags":35775,"thumbUrl":35776,"material":573,"size":35777,"collection":139,"collections":35778,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":49},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[7,23,24,25,27,26,28,177,29,264,109,108,174,106,34,37,770,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":35780,"slug":35781,"title":35782,"dynasty":18,"author":278,"museum":20,"description":16176,"tags":35783,"thumbUrl":35784,"material":40,"size":17560,"collection":139,"collections":35785,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},232880,"sou-shan-tu-yi-ming-232880","搜山图",[7,209,23,25,28,27,106,808,8436,29,34,558,266,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],{"id":35787,"slug":35788,"title":35789,"dynasty":189,"author":3304,"museum":311,"description":35790,"tags":35791,"thumbUrl":35793,"material":67,"size":35794,"collection":139,"collections":35795,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[7,23,225,27,28,83,1365,3168,2053,34,84,176,35792,3319],"元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7d3753eac78e2098c6e0fef1789f7.jpg","117x70厘米",[],{"id":35797,"slug":35798,"title":35799,"dynasty":54,"author":2091,"museum":9826,"description":35800,"tags":35801,"thumbUrl":35803,"material":67,"size":35804,"collection":139,"collections":35805,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},232625,"xi-cheng-gui-le-tu-juan-han-huang-232625","西成归乐图卷","一说风俗画，各位可别想歪了哈，这风俗画其实是以社会风气习俗为题材的绘画，表现的可能是某地某时的社会活动、风物特产，或是时令气候，风俗画虽然被归在人物画的范畴下，但却具有独特的艺术魅力，要比一般的人物画有意思的多。\n其实，最有名的风俗画便是张择端所绘制的《清明上河图》了，描绘了北宋汴京一带的风景、城郭、市肆、村舍，以及人们的生产生活，是一幅精美绝伦的风俗画巨制，流传至今，备受瞩目。但是今天，我们不说他。\n目前还能见到的风俗画雏形，是各地出土的汉代画像砖，这些图像涉及歌舞宴乐、狩猎农桑等一系列民众活动，直观再现了汉代下至民间百姓，上至贵族的真实生活。\n有表现劳动生产的，如播种、收割、舂米、酿造、盐井、桑园放牧等，有描绘社会风俗的如宴乐、杂技、舞蹈等，有神话故事如西王母、月宫等，还有表现统治阶级车马出行的。\u2028 风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[7,23,24,25,28,244,106,151,150,265,35802,86,263,178],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":35807,"slug":35808,"title":19237,"dynasty":99,"author":21378,"museum":311,"description":35809,"tags":35810,"thumbUrl":35811,"material":139,"size":35812,"collection":139,"collections":35813,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":49},231948,"tao-yuan-tu-shi-rui-231948","石锐（？－15世纪），字以明，钱塘（今浙江省杭州市）人，明代宫廷画家。宣德年间（1426年－1435年）进入宫廷，在仁智殿担任待诏，1469年仍活跃于画院。其画得盛懋之法，备极华整。金碧山水、界画楼台及人物，皆傅色鲜明温润，尤擅长画青绿与金碧山水，名著于时。",[7,23,1218,27,177,176,34,114,109,264,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 厘米",[],{"id":35815,"slug":35816,"title":35817,"dynasty":76,"author":1047,"museum":311,"description":35818,"tags":35819,"thumbUrl":35820,"material":139,"size":139,"collection":139,"collections":35821,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},230277,"gu-guo-xing-bei-shi-hua-ce-su-qin-wang-juan-shou-zhu-da-230277","故国兴悲诗画册(肃亲王卷首)","此幅书法以行书书就四字，笔力苍劲沉凝，线条如枯藤老树，藏锋裹住满腔郁愤，露锋破开沉重心绪，字形宽博朴拙，尽显沉郁厚重的气度。左侧题款小字清隽端雅，与大字的雄健悲凉形成强烈视觉反差。疏朗留白间朱印点缀，将山河破碎的怆怀融于笔墨，于尺幅间铺陈出悠悠无尽的家国哀思，笔墨起落间皆是乱世流离的沉恸。",[7,23,24,81,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89e9df92d4a66217f7060c595690bf2.jpg",[],{"id":35823,"slug":35824,"title":33355,"dynasty":76,"author":6172,"museum":311,"description":35825,"tags":35826,"thumbUrl":35827,"material":139,"size":139,"collection":139,"collections":35828,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},230157,"jiu-cheng-gong-tu-yuan-yao-230157","画作取高远、平远兼融的构图，上部巨岩拔地凌天，淡墨晕染出缭绕云气，晕开虚渺空濛的高远之境。山腰层楼叠宇依岩临渊，界画笔法工细匀整，飞檐翘角尽显宫阙的雄丽精巧。\n\n近景苍松虬曲蓊郁，临水方亭伴岸而立，板桥卧波轻连汀渚，淡墨铺陈出水岸的悠远空寂。山石兼工带写，斧劈皴间晕染烟岚，墨色干湿浓淡铺陈出山水层次虚实，将人工匠造融于天地山水间，尽显楼阁山水的明秀壮逸，把宫苑恢宏与山水灵秀相融，意境清逸悠长。",[7,23,225,104,27,29,107,175,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":35830,"slug":35831,"title":35832,"dynasty":76,"author":9369,"museum":311,"description":35833,"tags":35834,"thumbUrl":35835,"material":139,"size":139,"collection":139,"collections":35836,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},228949,"chun-man-zhi-tou-zhao-zhi-qian-228949","春满枝头","此作将群芳收于团扇尺幅，花枝虬曲穿插，蔷薇、山茶错落在苍枝间，繁而不乱。墨叶以浓淡晕出层次，苍厚朴拙，带着写意的朴野意趣；花卉以没骨晕染，粉艳、朱红、米黄诸色鲜活柔润，妍丽却不甜俗。\n\n兼工带写的笔意，将草木的舒展生机与文人画的隽雅格调相融，角落题字清雅端凝，和画面浑然一体。把暮春盛放的鲜活景致凝缩方寸之间，生机盎然，尽显清隽的写生意趣，是兼具笔墨情致与自然意韵的小品佳制。",[7,23,24,209,1352,27,83,84,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633ca1d9c7a81bb71031bb55fe76c1ba.jpg",[],{"id":35838,"slug":35839,"title":8639,"dynasty":99,"author":1014,"museum":311,"description":35840,"tags":35841,"thumbUrl":35842,"material":2164,"size":2165,"collection":139,"collections":35843,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[7,209,23,24,25,86,173,27,177,1218,29,1079,557,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":35845,"slug":35846,"title":35847,"dynasty":99,"author":170,"museum":311,"description":35848,"tags":35849,"thumbUrl":35850,"material":139,"size":139,"collection":139,"collections":35851,"showCount":517,"zanCount":1337,"manualWeight":48,"mainColor":49},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[7,23,24,225,173,29,865,108,35,176,177,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":35853,"slug":35854,"title":22813,"dynasty":99,"author":10799,"museum":311,"description":35855,"tags":35856,"thumbUrl":35859,"material":139,"size":139,"collection":139,"collections":35860,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},228486,"shuang-ying-tu-lin-liang-228486","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[7,23,24,225,939,173,400,83,35857,4451,35858,4272,926,606,558],"院体","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":35862,"slug":35863,"title":35864,"dynasty":99,"author":12697,"museum":311,"description":35865,"tags":35866,"thumbUrl":35867,"material":139,"size":139,"collection":139,"collections":35868,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":255},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[7,23,24,225,173,177,29,176,34,468,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":35870,"slug":35871,"title":35872,"dynasty":189,"author":22031,"museum":311,"description":35873,"tags":35874,"thumbUrl":35875,"material":139,"size":139,"collection":139,"collections":35876,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[7,23,24,25,26,27,29,107,108,109,1365,176,37,104,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":35878,"slug":35879,"title":35880,"dynasty":189,"author":4438,"museum":311,"description":35881,"tags":35882,"thumbUrl":35883,"material":139,"size":139,"collection":139,"collections":35884,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":49},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[7,23,24,27,173,29,174,109,106,1365,176,28,118,21613,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":35886,"slug":35887,"title":35888,"dynasty":189,"author":35211,"museum":311,"description":35889,"tags":35890,"thumbUrl":35892,"material":139,"size":139,"collection":139,"collections":35893,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":94},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[7,23,24,25,105,27,28,86,263,106,151,8727,6870,25987,34,109,35891,108],"稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":35895,"slug":35896,"title":35897,"dynasty":189,"author":6413,"museum":311,"description":35898,"tags":35899,"thumbUrl":35900,"material":139,"size":139,"collection":139,"collections":35901,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":49},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","以淡墨晕染峰峦，烟岚轻笼岫影，虚实相生间铺展秋日山野的空寂萧疏。近岸苍林错落，村居隐于枝桠间，秋水如镜，映带平远野色，将暮霭沉沉的静谧秋意晕开。\n画作以干湿互用的墨色写就，山峦以淡墨披麻皴辅以晕染，弱化嶙峋棱角，尽显温润秀雅。留白处化作流岚晓雾，将远峰近林织就朦胧诗境。右上角题诗与朱印错落，书画印相映成趣，添就文雅书卷气，将秋山暮时的澹远空寂，融在水墨氤氲里，尽显文人寄情丘壑的写意幽远之致。",[7,209,23,24,25,173,177,29,734,34,37,4064,3711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":35903,"slug":35904,"title":35905,"dynasty":18,"author":278,"museum":311,"description":35906,"tags":35907,"thumbUrl":35908,"material":139,"size":139,"collection":139,"collections":35909,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":255},227934,"qing-shan-bai-yun-tu-yi-ming-227934","青山白云图","近岸苍松虬曲古雅，枝桠探向水面，滩石错落，静水无波晕染出空濛雾气。远山隐现于烟岚之中，以淡墨轻擦出朦胧山形，留白托出云气舒卷的清旷。\n\n画侧题诗与山水呼应，行书隽秀飘逸，以诗点题，将青山朝暮、白云青松的幽寂山居铺陈在尺幅团扇间。墨色温雅清润，寥寥数笔便勾勒出世外林泉的闲逸意趣，尽显以小见大、诗画合璧的雅致审美，把文人心中的栖居理想藏在淡墨烟霞里。",[7,23,24,1352,29,173,177,7001,3596,1365,34,176,37,285,266,4064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":35911,"slug":35912,"title":35913,"dynasty":18,"author":1419,"museum":311,"description":35914,"tags":35915,"thumbUrl":35917,"material":139,"size":139,"collection":139,"collections":35918,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[7,209,23,24,83,173,177,10897,2787,226,109,35916,2053,3723,7497,13437],"溪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],{"id":35920,"slug":35921,"title":2388,"dynasty":18,"author":2389,"museum":311,"description":35922,"tags":35923,"thumb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－1435年1月31日），号长春真人 ，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁 ，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[7,23,24,81,173,28,226,384,370,19456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580b1d5613a0bce82743a005bf875250.jpg","37x46.6厘米",[],{"id":36101,"slug":36102,"title":36103,"dynasty":99,"author":16327,"museum":260,"description":21455,"tags":36104,"thumbUrl":36105,"material":699,"size":36106,"collection":328,"collections":36107,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},222314,"shi-hu-ba-jue-shi-juan-wang-chong-222314","石湖八绝诗卷",[7,86,178,25,24,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04e45f745a3d97883196f288820ebaa.jpg","30cm×307cm",[328],{"id":36109,"slug":36110,"title":36111,"dynasty":99,"author":16327,"museum":311,"description":36112,"tags":36113,"thumbUrl":36114,"material":699,"size":36115,"collection":328,"collections":36116,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},222312,"za-shi-wang-chong-222312","杂诗","其书飞动流转，气度不凡，行笔急速，字距疏密相同，通篇作品给人以拙而不滞、巧而不媚的感觉，可谓是上乘之作。",[7,209,23,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411f8420955b21e3af027f4497c1e2af.jpg","纵28.8厘米，横25.4厘米",[328],{"id":36118,"slug":36119,"title":36120,"dynasty":99,"author":170,"museum":78,"description":36121,"tags":36122,"thumbUrl":36123,"material":573,"size":36124,"collection":139,"collections":36125,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":94},222131,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222131","雨江名胜图册","此图是描绘长江淮河两岸名胜风景的册页，共十幅，每幅对页有沈周自题七绝一首，并有友人文嘉、王穉登等人题和诗。画面皆剪裁简明，情景融合，却构成诗意盎然的境界。用笔质朴、凝重，山峦的 繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[7,23,24,81,27,29,107,34,175,86,263,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674619dee4ce4fad476bb3400d91654b.jpg","纵42.2厘米，横23.8厘米",[],{"id":36127,"slug":36128,"title":36129,"dynasty":99,"author":20195,"museum":206,"description":36130,"tags":36131,"thumbUrl":36132,"material":36133,"size":36134,"collection":181,"collections":36135,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},222086,"hui-shan-zhu-quan-tu-zhou-qian-gu-222086","惠山煮泉图轴","钱谷此图绘与友人四人品茶赏景谈天，三童一汲方池惠泉，另二于松下煽火备茶。图中树木多以乾笔皴擦、人物偶现几处浓墨点缀，浓淡表现恰到好处，笔法灵巧，呈现了晚明文人潇洒怡然的生活情景。",[7,23,24,225,173,27,177,106,34,176,263,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc265a3d40fc91feae57afc4851a3c8e.jpg","轴、纸本、浅设色","265x57.2",[181,45],{"id":36137,"slug":36138,"title":36139,"dynasty":189,"author":36140,"museum":78,"description":36141,"tags":36142,"thumbUrl":36143,"material":699,"size":36144,"collection":328,"collections":36145,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":255},221843,"zhen-jing-an-mu-yuan-shu-juan-shu-yang-wei-zhen-221843","真镜庵募缘疏卷书","杨维桢","《真镜庵募缘疏卷》是杨维桢的行草书佳作。作者晚年与僧道交往频繁，经常出入于寺庙道院，此卷特地为真镜庵募缘所撰写。其书章局变化丰富，随意而奇崛，用笔力遒韵稚，笔法跳宕，竭尽一唱三叹、回肠荡气的能事。用墨浓淡互济，干湿对比强烈，表现出作者的强烈的艺术个性，怪癖性格的极度张扬。",[7,209,23,24,25,86,178,2570,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[328],{"id":36147,"slug":36148,"title":25772,"dynasty":189,"author":8083,"museum":191,"description":36149,"tags":36150,"thumbUrl":36151,"material":699,"size":36152,"collection":139,"collections":36153,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},221826,"jie-bo-tu-juan-zhu-yu-221826","《揭钵图》在佛教题材绘画中青史留名，在中国古代美术史上占有重要地位。清初《佩文斋书画谱》等史籍中明确记载，朱玉《揭钵图》真迹存世仅有两本。对比浙博本和美国本，后者人物线条更加飘逸，几无断笔，面部结构精准，服饰线条洒脱，而浙博本有近半人物线条出现断笔。",[7,23,24,25,244,243,106,808,15030,2508,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8239e9d61ec1d53ae4c554166623e90.jpg","27.7x111厘米",[],{"id":36155,"slug":36156,"title":36157,"dynasty":189,"author":6413,"museum":20,"description":36158,"tags":36159,"thumbUrl":36160,"material":527,"size":36161,"collection":42,"collections":36162,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[7,23,1218,225,177,27,734,2279,384,4970,108,109,266,1253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[42,181,45],{"id":36164,"slug":36165,"title":36166,"dynasty":18,"author":5793,"museum":9826,"description":7832,"tags":36167,"thumbUrl":36168,"material":67,"size":36169,"collection":139,"collections":36170,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},221604,"gui-yu-tu-liang-kai-221604","归渔图",[7,209,23,173,27,29,865,266,867,174,1542,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":36172,"slug":36173,"title":36174,"dynasty":18,"author":5270,"museum":20,"description":36175,"tags":36176,"thumbUrl":36177,"material":40,"size":36178,"collection":42,"collections":36179,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},221453,"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[7,23,24,25,244,27,106,29,866,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[42,181,163],{"id":36181,"slug":36182,"title":36183,"dynasty":18,"author":36184,"museum":1666,"description":36185,"tags":36186,"thumbUrl":36187,"material":28505,"size":36188,"collection":44,"collections":36189,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},221261,"zhao-yang-tu-hu-zhi-tian-221261","朝阳图","胡直天","此作以减笔写意写就，枯涩灵动的墨线勾勒僧人身形，顿挫转折间，衣物褶皱的厚重质感尽显。老僧垂眉敛目，持盏默坐，神态沉凝安然，似在静待晨光破暝，将禅家静定悠然的意态藏于笔底。\n\n画面简阔疏朗，以空寂绢面烘托出清远虚淡的禅意氛围，不着一笔而意蕴自生。笔意极简却形神兼备，寥寥数笔便将出尘襟怀铺展尽致，尽显禅画以形写神、以简驭繁的精妙意趣。",[7,209,23,24,81,244,173,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37005a5ef42275a168b4eeac761cadf2.jpg","22.3×23",[44],{"id":36191,"slug":36192,"title":36193,"dynasty":949,"author":3807,"museum":3808,"description":36194,"tags":36195,"thumbUrl":36196,"material":139,"size":139,"collection":139,"collections":36197,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},220561,"dou-ying-xu-bei-hong-220561","斗鹰","以酣畅泼墨写就猛禽雄姿，两只苍鹰振翅对峙于空，利爪森然张扬，怒目相向，将空中缠斗的紧绷张力拉至顶点。\n作者以干湿浓墨晕染出羽毛层次，大写意的笔触间不失细节精准，将猛禽的桀骜筋骨与凶悍神态尽数勾勒。画面留白疏朗，远景点缀掠空小鹰，衬出天地辽远，更显主体鹰隼的霸悍气魄。整体笔力雄健老辣，将猛禽相斗的野性之美凝于纸面，把转瞬即逝的空中角斗定格为永恒的视觉冲击，尽显豪迈苍劲的风骨。",[7,23,173,400,225,266,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b0f6352c708e330be8c080b5a1d523.jpg",[],{"id":36199,"slug":36200,"title":36201,"dynasty":949,"author":3807,"museum":3808,"description":36202,"tags":36203,"thumbUrl":36205,"material":139,"size":139,"collection":139,"collections":36206,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},220553,"ba-ren-ji-shui-xu-bei-hong-220553","巴人汲水","这幅长卷以竖幅铺展取水全程，自河畔到山梯，串联起众生剪影。下方赤膊老者躬身探入河水提桶，肌肉紧绷满是劳作的沧桑；妇人俯身舀水，壮年佝偻腰背负重登梯，青年挑着水桶稳步上行，山巅挑夫将艰辛藏入沉稳脚步。\n线条劲挺勾勒出劳动者贲张的筋肉与粗粝山石，淡墨晕染开朦胧水汽，侧畔竹花轻绽反衬生计之苦。题诗诉尽汲水人的血汗辛劳，将日常生计绘就为对底层坚韧的深情礼赞，写实笔墨里满溢共情与悲悯。",[7,23,173,27,2158,225,106,9597,4272,109,36204],"水桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e184e8f377e2844f6c9d4d7879a5ec.jpg",[],{"id":36208,"slug":36209,"title":36210,"dynasty":99,"author":14621,"museum":206,"description":36211,"tags":36212,"thumbUrl":36213,"material":327,"size":36214,"collection":44,"collections":36215,"showCount":517,"zanCount":1337,"manualWeight":48,"mainColor":49},220446,"yan-bo-bu-yu-tu-zhu-zhan-ji-220446","烟波捕鱼图","朱瞻基（1398－1435年），明朝第五位皇帝，1425-1435年在位，别称明宣宗、宣德帝，他也是一位能够与宋徽宗媲美的杰出书画家。《烟波捕鱼图 》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[7,23,24,225,173,27,29,174,867,29448,1088],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[44],{"id":36217,"slug":36218,"title":36219,"dynasty":99,"author":170,"museum":132,"description":36220,"tags":36221,"thumbUrl":36222,"material":409,"size":36223,"collection":181,"collections":36224,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},220083,"yi-zhu-tu-shen-zhou-220083","移竹图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[7,23,24,25,173,177,178,263,2352,226,176,34,35,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[181],{"id":36226,"slug":36227,"title":36228,"dynasty":99,"author":1014,"museum":206,"description":36229,"tags":36230,"thumbUrl":36231,"material":67,"size":36232,"collection":181,"collections":36233,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[7,23,27,29,28,1322,108,109,107,175,106,1265,37,21613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[181],{"id":36235,"slug":36236,"title":36237,"dynasty":99,"author":30311,"museum":206,"description":36238,"tags":36239,"thumbUrl":36240,"material":123,"size":36241,"collection":45,"collections":36242,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[7,23,29,27,177,225,108,109,175,384,176,150,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 横105.8厘米",[45],{"id":36244,"slug":36245,"title":36246,"dynasty":18,"author":278,"museum":206,"description":36247,"tags":36248,"thumbUrl":36249,"material":123,"size":36250,"collection":44,"collections":36251,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},219605,"fan-qi-chu-lie-tu-yi-ming-219605","番骑出猎图","画面里两位骑手纵马缓行，左侧胡酋虬髯高冠，身姿沉凝端坐，坐骑鬃尾飘曳，裹挟着塞北雄悍犷野之气。右侧骑士背负箭囊、斜倚长杆，神色警觉四顾，仿佛正凝神扫视周遭，静待逐猎之机。\n\n设色简淡古雅，线条劲挺洗练，人马造型朴拙生动，荒漠底色晕染出辽远荒寒的氛围，将游牧民族出猎前的松弛与暗藏的骁勇刻画入微，寥寥笔墨便勾勒出北方草原的苍茫意趣，尽显描摹世态、传神写意的精妙功底。",[7,209,23,24,25,28,27,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a0f7f663c7add49b0108d136ef0824.jpg","纵24.4横56.3厘米",[44],{"id":36253,"slug":36254,"title":36255,"dynasty":99,"author":10799,"museum":447,"description":36256,"tags":36257,"thumbUrl":36258,"material":327,"size":36259,"collection":90,"collections":36260,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},219329,"liu-que-tu-lin-liang-219329","柳鹊图","画中的柳叶随风起舞，四只喜鹊在中间嬉戏。 这幅画飞扬而不失形，或画的下部被切掉，造成画不完整。",[7,23,209,173,400,83,225,1322,19456,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1a6f8f3388ac631614527f9aa6831.jpg","139.4x76cm",[90],{"id":36262,"slug":36263,"title":36264,"dynasty":76,"author":278,"museum":222,"description":36265,"tags":36266,"thumbUrl":36273,"material":27,"size":139,"collection":44,"collections":36274,"showCount":517,"zanCount":1104,"manualWeight":48,"mainColor":49},219247,"zu-xian-xiang-yi-ming-219247","祖先像","层叠排布的家族群像，铺展一幅清代家族的伦理长卷。顶戴花翎的男子端坐，旗装霞帔的女眷肃立，衣袂间织锦暗纹隐现，品级补子昭示身份尊卑。面容沉静肃穆，目光似穿越时空，承载着家族的荣耀与传承。工笔细腻，设色典雅，人物神态刻画入微，服饰细节还原精准。这幅祖先像不仅是家族祭祀的精神载体，更以写实笔触定格清代世家风貌与文化基因，成为兼具艺术价值与社会意义的肖像画鲜活见证。",[7,23,28,27,315,36267,36268,36269,2220,36270,36271,3830,300,30304,14224,36272],"人物肖像","家族群像","清代服饰","工笔人物","设色人物","中国传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e4a59c5c3af57ba55f005f02ec73ce.jpg",[44],{"id":36276,"slug":36277,"title":36278,"dynasty":76,"author":278,"museum":222,"description":36279,"tags":36280,"thumbUrl":36281,"material":27,"size":139,"collection":44,"collections":36282,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":94},219246,"gao-seng-hua-xiang-yi-ming-219246","高僧画像","层叠群像如莲台次第铺展，二十余尊高僧法相凝于尺幅间。红白袈裟相映，墨珠垂胸，法器隐手——衣纹勾勒流畅，色彩晕染沉稳，承清代肖像写实之韵。或眉蹙深思，或面含悲悯，同具肃穆却各藏性情，似触见修行路上的不同心境。素底无华，更显佛法空灵与僧团整肃。佚名画师以细腻笔触，定格高僧精神群像，岁月流转，那份沉静力量仍穿越时空，叩击观者心弦。",[7,23,225,28,27,243,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc0cbc6a57185d6c4061f87a8c95e91.jpg",[44],{"id":36284,"slug":36285,"title":36286,"dynasty":18,"author":278,"museum":206,"description":36287,"tags":36288,"thumbUrl":8456,"material":123,"size":36289,"collection":90,"collections":36290,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},218700,"fu-rong-tu-yi-ming-218700","芙蓉图","一枝芙蓉斜逸而出，花瓣层叠如凝脂，粉白晕染间似沾着晨露的清润；含苞的蓓蕾裹着淡红，敛着半开的心事。墨绿叶片脉络分明，纤细却劲挺，肌理薄韧如绢。深青底色如幽潭静水，将花朵的明丽衬得愈发温润。画面无冗余缀饰，却于细微处见匠心：花瓣的柔纹、叶尖的轻颤，皆被捕捉得恰到好处。宋人的笔意藏在每一笔晕染里，不张扬却动人，似将芙蓉的清雅与生机，凝在这一方圆境中，静静诉说着时光里的温柔与诗意。",[7,209,23,24,81,27,28,83,404],"21.0x23.5",[90],{"id":36292,"slug":36293,"title":36294,"dynasty":18,"author":278,"museum":78,"description":36295,"tags":36296,"thumbUrl":36297,"material":123,"size":36298,"collection":181,"collections":36299,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":49},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[7,23,24,104,173,29,107,109,34,150,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[181],{"id":36301,"slug":36302,"title":36303,"dynasty":99,"author":278,"museum":447,"description":36304,"tags":36305,"thumbUrl":36306,"material":123,"size":36307,"collection":44,"collections":36308,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":629},218323,"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[7,23,209,24,27,173,244,106,243,229,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[44],{"id":36310,"slug":36311,"title":36312,"dynasty":18,"author":676,"museum":311,"description":36313,"tags":36314,"thumbUrl":36315,"material":409,"size":139,"collection":139,"collections":36316,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":94},218113,"bai-miao-ren-wu-tu-ce-1-li-gong-lin-218113","白描人物图册-1","李公麟的生平信息相对较少，但是他在宋朝的政治、文化和经济发展中发挥了重要作用。他曾任国子监太傅，是宋朝的最高学府。他还是一位著名的诗人，他的诗歌风格优美流畅，富有哲理性。\n\n李公麟还是一位杰出的政治家。他在宋朝的统治过程中，提出了许多有益的政策建议。他倡导改革，推动了宋朝经济的发展。他还是一位慈善家，常常为穷人提供帮助。\n\n总的来说，李公麟是宋朝时期一位著名的人物，他在政治、文化和经济发展中发挥了重要作用。他的诗歌风格优美流畅，富有哲理性，是宋朝的著名诗人。他还是一位杰出的政治家，在宋朝的统治过程中，提出了许多有益的政策建议。他还是一位慈善家，常常为穷人提供帮助。",[7,209,23,24,81,244,106,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2d350df6ea3393f1fa4448450695ce.jpg",[],{"id":36318,"slug":36319,"title":36320,"dynasty":18,"author":676,"museum":311,"description":36313,"tags":36321,"thumbUrl":36322,"material":409,"size":139,"collection":139,"collections":36323,"showCount":517,"zanCount":2209,"manualWeight":48,"mainColor":94},218111,"bai-miao-ren-wu-tu-ce-2-li-gong-lin-218111","白描人物图册-2",[7,209,23,24,81,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132f01757017d211702ac7efc58659cf.jpg",[],{"id":36325,"slug":36326,"title":36327,"dynasty":99,"author":3869,"museum":20,"description":36328,"tags":36329,"thumbUrl":36330,"material":123,"size":36331,"collection":44,"collections":36332,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 大吕 和 小吕。吕纪以画花鸟著称，这幅画的背景是鸟和树，整齐好看，接近吕纪的风格；吕文英擅长人物，线条沉稳，脸部轮廓平实，形态逼真，五官分明，与吕文英的风格相似",[7,23,24,25,27,28,106,226,403,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee6afe5130a0922557acf3dd49180a0.jpg","33.8x395.4",[44],{"id":36334,"slug":36335,"title":36336,"dynasty":99,"author":278,"museum":311,"description":36337,"tags":36338,"thumbUrl":36339,"material":327,"size":36340,"collection":44,"collections":36341,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":49},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[7,209,23,24,225,244,173,27,177,106,1423,866,29,1267,109,21381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[44],{"id":36343,"slug":36344,"title":36345,"dynasty":99,"author":15579,"museum":1098,"description":36346,"tags":36347,"thumbUrl":36348,"material":67,"size":36349,"collection":139,"collections":36350,"showCount":517,"zanCount":48,"manualWeight":48,"mainColor":94},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[7,23,24,25,173,27,177,178,86,263,29,174,34,176,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 x 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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[7,23,24,25,27,29,106,34,266,31,557,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[45],{"id":36492,"slug":36493,"title":36494,"dynasty":76,"author":4050,"museum":20,"description":36495,"tags":36496,"thumbUrl":36497,"material":699,"size":139,"collection":139,"collections":36498,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},234128,"lin-yue-yi-qu-tu-juan-hong-ren-234128","林樾一区图卷","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[7,23,25,173,177,86,29,175,34,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9712d4963f78f40a5206cef1b5c061ab.jpg",[],{"id":36500,"slug":36501,"title":36502,"dynasty":189,"author":278,"museum":311,"description":36503,"tags":36504,"thumbUrl":36505,"material":2164,"size":2165,"collection":139,"collections":36506,"showCount":36406,"zanCount":2209,"manualWeight":48,"mainColor":49},232830,"pu-sa-xiang-li-zhou-yi-ming-232830","菩萨像立轴","所谓圆满不是没苦乐,而是苦乐随喜,悲喜随缘。",[7,23,225,243,106,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5d90da2e2548d70c18c54ec678b7b0.jpg",[],{"id":36508,"slug":36509,"title":36510,"dynasty":99,"author":22365,"museum":101,"description":36511,"tags":36512,"thumbUrl":36513,"material":527,"size":36514,"collection":139,"collections":36515,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":255},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[7,23,24,25,173,29,177,557,37,34,176,86,263,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":36517,"slug":36518,"title":36519,"dynasty":76,"author":2987,"museum":56,"description":36520,"tags":36521,"thumbUrl":36522,"material":67,"size":36523,"collection":139,"collections":36524,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},231487,"shu-kui-xuan-hua-tu-jiang-ting-xi-231487","蜀葵宣花图","此幅用没骨法绘三枝折枝花卉，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。\n蒋廷锡（1669—1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。康熙四十二年（1703年）进士，历任礼部侍郎、户部尚书、文华殿大学士、太子太傅等职。",[7,23,24,83,225,28,27,4701,34112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9575199fb86ddf3cfac99d1250ee36.jpg","78×39cm",[],{"id":36526,"slug":36527,"title":36528,"dynasty":18,"author":461,"museum":311,"description":36529,"tags":36530,"thumbUrl":36531,"material":139,"size":139,"collection":139,"collections":36532,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[7,23,209,24,225,173,27,29,177,557,176,34,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":36534,"slug":36535,"title":36536,"dynasty":76,"author":12256,"museum":311,"description":36537,"tags":36538,"thumbUrl":36539,"material":139,"size":139,"collection":139,"collections":36540,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[7,23,24,104,27,28,29,107,285,34,557,106,115,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":36542,"slug":36543,"title":36544,"dynasty":99,"author":14621,"museum":311,"description":36545,"tags":36546,"thumbUrl":36547,"material":139,"size":139,"collection":139,"collections":36548,"showCount":36406,"zanCount":2209,"manualWeight":48,"mainColor":94},228893,"you-yu-tu-juan-zhu-zhan-ji-228893","游鱼图卷","此卷以没骨淡墨绘就水族盛景，虾蟹轻螯微动，群鱼姿态各殊，或摆尾穿游于荇草间，或结群逐戏，动静相生、灵动鲜活。全图不施一笔画水，仅以飘摇的水藻、鳞鳍的动势，烘托出水流清浅柔润的空濛意境，仿佛可见池底幽谧生机。\n墨色轻晕淡染，将水泽的澄澈质感尽数烘托，简淡笔触里尽显自然生意，将水畔野趣鲜活定格绢素，尽显悠游自在的清致。",[7,23,25,173,28,783,314,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6784ede5dbadd64dafc49ae0651dc3.jpg",[],{"id":36550,"slug":36551,"title":36552,"dynasty":99,"author":36553,"museum":311,"description":36554,"tags":36555,"thumbUrl":36556,"material":139,"size":139,"collection":139,"collections":36557,"showCount":36406,"zanCount":1104,"manualWeight":48,"mainColor":49},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[7,23,27,29,177,734,384,866,1423,282,174,558,28166,11547,3019,149,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":36559,"slug":36560,"title":36561,"dynasty":99,"author":36562,"museum":311,"description":36563,"tags":36564,"thumbUrl":36565,"material":139,"size":139,"collection":139,"collections":36566,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","卞文瑜","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[7,23,24,25,173,177,178,86,263,29,734,34,35,468,37,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":36568,"slug":36569,"title":36570,"dynasty":18,"author":1137,"museum":311,"description":36571,"tags":36572,"thumbUrl":36573,"material":139,"size":139,"collection":139,"collections":36574,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},227974,"pu-tao-cao-chong-tu-lin-chun-227974","葡萄草虫图","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[7,23,209,24,1352,28,27,83,2569,511,606,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":36576,"slug":36577,"title":36578,"dynasty":18,"author":1419,"museum":311,"description":36579,"tags":36580,"thumbUrl":36581,"material":139,"size":139,"collection":139,"collections":36582,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 行松盘岭图轴",[7,23,24,1352,27,29,107,1365,174,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31156cf1201e56c7733b85aa29d871a.jpg",[],{"id":36584,"slug":36585,"title":36586,"dynasty":18,"author":5270,"museum":311,"description":36587,"tags":36588,"thumbUrl":36589,"material":139,"size":139,"collection":139,"collections":36590,"showCount":36406,"zanCount":2209,"manualWeight":48,"mainColor":49},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[7,23,24,1352,27,29,174,106,384,867,6868,1542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],{"id":36592,"slug":36593,"title":2398,"dynasty":18,"author":2389,"museum":311,"description":36594,"tags":36595,"thumbUrl":36596,"material":139,"size":139,"collection":139,"collections":36597,"showCount":36406,"zanCount":2209,"manualWeight":48,"mainColor":94},227697,"mo-lan-tu-zhao-meng-jian-227697","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[7,23,25,173,244,83,406,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":36599,"slug":36600,"title":36601,"dynasty":18,"author":22476,"museum":311,"description":36602,"tags":36603,"thumbUrl":36604,"material":139,"size":139,"collection":139,"collections":36605,"showCount":36406,"zanCount":1337,"manualWeight":48,"mainColor":49},226558,"fan-qi-tu-juan-quan-juan-hu-gui-226558","番骑图卷全卷","《番骑图》所绘的是一队番骑逆风艰难前行的情形。塞北冬日，漠野荒寒，朔风劲吹，扑鼻冲面。胡人男女或以袖掩鼻、或面纱覆口，马匹、骆驼或低首踉跄、或屏息慢行，“胡天惨冽”的气候特征被刻画得惟妙惟肖。画家通过人物瑟缩之态、马匹蹒跚之形，衬托北地胡天之风疾天寒，以实写虚、虚实结合，可谓“曲尽塞外不毛之景趣”，堪称“番马画”中的出色之作。",[7,209,23,24,25,244,27,106,150,9007,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277e2d10ec8e8cc208f99d4fd1c3a917.jpg",[],{"id":36607,"slug":36608,"title":36609,"dynasty":8433,"author":278,"museum":311,"description":36610,"tags":36611,"thumbUrl":36615,"material":2164,"size":2165,"collection":139,"collections":36616,"showCount":36406,"zanCount":2209,"manualWeight":48,"mainColor":94},226530,"yuan-xian-jun-mu-zhi-ming-yi-ming-226530","元顯儁墓誌銘","《元显俊墓志》此志石灰石质，通高35厘米，长75厘米，宽56.5厘米。上面为志盖，用阴线刻满四边形、五边形、六边形的龟甲纹样，龟甲中央阴刻正书“魏故处士元君墓志”八个字。下面镌刻着正书志文，计十九行，行二十一字，共三百五十七字",[7,620,86,621,25111,36612,36613,36614,32058,21109],"雕刻","龟形","南北朝风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417e6dae5e8c8ca2108ba2bef47cfcd7.jpg",[],{"id":36618,"slug":36619,"title":36620,"dynasty":76,"author":36621,"museum":206,"description":36622,"tags":36623,"thumbUrl":36624,"material":712,"size":36625,"collection":139,"collections":36626,"showCount":36406,"zanCount":2209,"manualWeight":48,"mainColor":94},224573,"qing-qian-long-ke-si-hua-hui-gua-ping-san-zhou-qing-ren-224573","清乾隆缂丝花卉挂屏（三）轴","清人","花卉册在本色地上缂织茶花水仙、玉兰海棠、牡丹、碧桃芝竹、百合剪春罗、荷花蜻蜓、踯躅、芝兰、秋海棠、剪秋纱、蝴蝶花、梅花等各色花卉，每开均缂织而成，无着笔处。画幅采用平缂、构缂、木梳戗、长短戗、凤尾戗和掼缂等缂织技法，缂工细致，润色自然，描画不求形似，具有简逸风格的文人花鸟画风。",[7,2127,225,27,28,84,512,926,607,283,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","每开纵41厘米，横42厘米",[],{"id":36628,"slug":36629,"title":36630,"dynasty":76,"author":963,"museum":311,"description":36631,"tags":36632,"thumbUrl":36633,"material":139,"size":139,"collection":139,"collections":36634,"showCount":36406,"zanCount":2209,"manualWeight":48,"mainColor":94},224517,"shan-shui-tu-ce-8-kai-5-shi-tao-224517","山水图册8开-5","此作用笔松秀灵动，以淡墨勾勒皴擦近坡顽石，苍润朴厚，浅滩留白暗合流泉婉转之姿，石畔杂草萧疏，野意自生。湖面空阔明净，一扁舟轻泛其上，渔翁独钓，寥寥数笔写尽江湖散淡之趣。\n\n右上角题字朴拙率意，与画境浑然相融，尽显诗书画合一的文人雅趣。整幅简淡幽远，以简驭繁，将天地清寂与隐逸襟怀融为一体，淡墨轻岚间漾着萧散空寂之美，观之便觉湖风拂面，恍若身临幽旷水滨，静赏江湖闲逸之境。",[7,23,24,81,173,177,29,174,229,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1a75acc650de321142f50190900d8.jpg",[],{"id":36636,"slug":36637,"title":36638,"dynasty":76,"author":7940,"museum":311,"description":36639,"tags":36640,"thumbUrl":36641,"material":139,"size":139,"collection":139,"collections":36642,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[7,209,23,24,25,27,29,105,177,109,174,34,266,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":36644,"slug":36645,"title":36646,"dynasty":76,"author":1215,"museum":206,"description":36647,"tags":36648,"thumbUrl":36649,"material":712,"size":36650,"collection":139,"collections":36651,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[7,23,24,225,173,177,29,34,451,176,109,175,1265,11241,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":36653,"slug":36654,"title":36655,"dynasty":76,"author":1215,"museum":20,"description":36656,"tags":36657,"thumbUrl":36658,"material":1488,"size":36659,"collection":181,"collections":36660,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[7,23,24,225,173,177,29,734,282,34,558,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg","纵135厘米，横63厘米",[181],{"id":36662,"slug":36663,"title":36664,"dynasty":76,"author":36665,"museum":311,"description":36666,"tags":36667,"thumbUrl":36668,"material":2164,"size":2165,"collection":139,"collections":36669,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},224166,"lin-yan-zhen-qing-gao-shen-juan-wang-you-dun-224166","临颜真卿告身卷","汪由敦","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。\n乾隆二十三年（1758年），汪由敦逝世。乾隆皇帝亲自前往吊唁，加赠其为太子太师，谥号为文端，入祀贤良祠。汪由敦学问渊深，文辞雅正，兼工书法。著有《松泉集》。",[7,24,25,86,105,621,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf59529c1ee02a3b772ccd63884c015.jpg",[],{"id":36671,"slug":36672,"title":36673,"dynasty":76,"author":36674,"museum":311,"description":36675,"tags":36676,"thumbUrl":36678,"material":139,"size":139,"collection":139,"collections":36679,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},224157,"hua-gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-224157","画高宗御笔秋花诗轴","张若霭","将对自然的喜爱带入生活，呈现在庭园中，成为小中现大的世界，正是本幅主体。\n作于乾隆十一年（1746）秋七月，画内廷台阁花园景致。\n台阁以界画绘制，具透视感。\n但与花卉相较却偏小，并不合真实比例，应是为强调群芳争妍的盛况而做此安排。\n园中鸡冠、秋葵、雁来红、菊、红蓼、凤仙等怒放，一片缤纷灿烂，展现明媚秋色。\n【名称】清 张若霭 画高宗御笔秋花诗 【年代】清代 【简介】台北故宫博物院。\n张若霭（171-1746），字晴岚，号景采，又号炼雪道人、晴岚居士，蕴真阁，梅花纳，炼雪道人，藕得书屋，佳梦轩等。\n安徽桐城人。\n张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。\n雍正十一 年（172年）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[7,23,27,28,104,107,109,4293,4272,283,36677,34],"瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":36681,"slug":36682,"title":36683,"dynasty":76,"author":36684,"museum":311,"description":36685,"tags":36686,"thumbUrl":36687,"material":2164,"size":2165,"collection":139,"collections":36688,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[7,23,24,225,27,28,26,104,29,107,175,34,176,109,4272,2186,4579,115,27371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":36690,"slug":36691,"title":36692,"dynasty":189,"author":278,"museum":20,"description":36693,"tags":36694,"thumbUrl":36695,"material":67,"size":36696,"collection":42,"collections":36697,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[7,23,225,173,177,27,29,7577,865,466,176,468,35,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[42],{"id":36699,"slug":36700,"title":36701,"dynasty":18,"author":278,"museum":311,"description":36702,"tags":36703,"thumbUrl":36704,"material":139,"size":139,"collection":139,"collections":36705,"showCount":36406,"zanCount":2209,"manualWeight":48,"mainColor":629},223406,"tai-yi-jiu-ku-tian-zun-yi-ming-223406","太乙救苦天尊","画面底色沉郁古雅，晕染出静穆庄肃的宗教氛围。天尊仪容清癯端严，眉目悲悯内敛，衣纹线条凝练沉稳，晕染厚重雅致，将出尘仙风道骨尽显无遗。座下九头狮狞猛威严，鬃毛与鞍鞯细节刻画入微，狞悍神兽与沉静天尊形成强烈动静反差，暗合天尊以神威广度苦厄的意涵。\n设色古朴厚重，深褐底色托出人物明洁面容与衣摆亮色，层次分明，尽显典雅法度，神性的庄严与慈悲融于含蓄笔墨间，带着沉静肃穆的感染力。",[7,23,24,225,243,27,28,106,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa8dabdf98f5ffd1dd19b0d0e4fe693.jpg",[],{"id":36707,"slug":36708,"title":36709,"dynasty":76,"author":6172,"museum":20,"description":17958,"tags":36710,"thumbUrl":36711,"material":40,"size":17961,"collection":139,"collections":36712,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月",[7,209,23,24,29,104,27,28,107,285,34,1755,31,37,1322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg",[],{"id":36714,"slug":36715,"title":36716,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":36717,"thumbUrl":36719,"material":67,"size":2225,"collection":139,"collections":36720,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},223068,"hong-lou-meng-54-sun-wen-223068","红楼梦54",[7,28,27,104,106,107,108,226,402,175,1775,298,8760,36718],"窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173a90b3a55ee52d258dbd1f30861e2f.jpg",[],{"id":36722,"slug":36723,"title":36724,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":36725,"thumbUrl":36726,"material":67,"size":2225,"collection":139,"collections":36727,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[7,23,28,27,104,106,107,115,298,299,29,34,386,1641,4361,63,1643,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],{"id":36729,"slug":36730,"title":36731,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":36732,"thumbUrl":36733,"material":67,"size":2225,"collection":139,"collections":36734,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},223013,"hong-lou-meng-138-sun-wen-223013","红楼梦138",[7,23,28,27,104,106,59,107,115,9889,3790,9298,1646,27087],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94fa31ab783364ada8a4dabfa58909e.jpg",[],{"id":36736,"slug":36737,"title":36738,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":36739,"thumbUrl":36740,"material":67,"size":2225,"collection":139,"collections":36741,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},222880,"hong-lou-meng-5-sun-wen-222880","红楼梦5",[7,23,24,28,27,106,107,228,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99114590de0237996992964d1a568ac0.jpg",[],{"id":36743,"slug":36744,"title":36745,"dynasty":76,"author":26151,"museum":9826,"description":36746,"tags":36747,"thumbUrl":36748,"material":1488,"size":9310,"collection":44,"collections":36749,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},222833,"suo-jian-tu-luo-pin-222833","锁谏图","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。",[7,23,24,25,244,173,106,808,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77aa4d64989e7747df80436c432cebaf.jpg",[44],{"id":36751,"slug":36752,"title":36753,"dynasty":76,"author":1473,"museum":583,"description":18205,"tags":36754,"thumbUrl":36755,"material":67,"size":36756,"collection":139,"collections":36757,"showCount":36406,"zanCount":2209,"manualWeight":48,"mainColor":49},222709,"yan-dao-ren-mei-hua-ge-jin-nong-222709","檐道人梅花歌",[7,24,86,225,5405,263,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87e8b2be5a26c1593983f801884d2858.jpg","122x40.7",[],{"id":36759,"slug":36760,"title":36761,"dynasty":99,"author":862,"museum":206,"description":30704,"tags":36762,"thumbUrl":36763,"material":139,"size":31167,"collection":181,"collections":36764,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},222585,"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏",[7,23,24,81,27,29,105,177,734,384,282,227,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg",[181,163],{"id":36766,"slug":36767,"title":36768,"dynasty":99,"author":3869,"museum":206,"description":36769,"tags":36770,"thumbUrl":36772,"material":409,"size":36773,"collection":90,"collections":36774,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[7,23,225,83,28,173,27,36771,2019,865,4272,176,263,1628],"山鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[90,45],{"id":36776,"slug":36777,"title":27434,"dynasty":99,"author":36562,"museum":101,"description":36778,"tags":36779,"thumbUrl":36780,"material":699,"size":36781,"collection":181,"collections":36782,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":94},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[7,23,24,25,173,177,29,734,282,34,35,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[181,163],{"id":36784,"slug":36785,"title":36786,"dynasty":99,"author":397,"museum":36787,"description":36788,"tags":36789,"thumbUrl":36790,"material":2570,"size":36791,"collection":139,"collections":36792,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},222236,"bai-yan-shi-quan-juan-xu-wei-222236","白燕诗全卷","绍兴市文物考古研究所","释文：\n白燕诗卷\n西飞岁岁侯青阳。花发名园何处藏。天子郊禖呈瑞色。主人台榭有辉光。轻翰掠雨绡初剪。小尾流风练愈长。万里东归看 易没。海天元是白云乡。一时伴侣自应稀。海路空长遇亦非。汉 将玉门投老入。赵妃雪夜待人归。孤回夏日摇寒雪。渐下秋空见羽 衣。却说朱门无可托。玉楼天上任高飞。素壁红芳照苑墙。冲花 泛羽唼群芳。霜迷万瓦单栖渺。草绿千堤片影凉。云母屏深低缟袖。水晶帘动拂流黄。西园蝴蝶浑无赖。暗粉飘尘上海棠。 白燕四首。书似镇南朱内史一笑。天池徐渭。\n徐渭的书法和明代早期书坛沉闷的气氛对比显得格外突出，他最擅长气势磅礴的狂草，但一般人很难看懂，用笔狼藉，他对自己的书法极为喜欢，自认为“书法第一，诗第二，文第三，画第四”。\n他的书法也是从吴门书派主张唐法的反叛中出发，继而吸取北宋苏轼、黄庭坚、米芾追求艺术个性化的积极因素中走来。\n徐渭打破了以“台阁体”为主导的明代书坛的寂寞，开启和引领了晚明“尚态”书风，把明代书法引向了新的高峰。陶望龄认为其书法“称为奇绝，谓有明一人”。袁宏道则称：“予不能书，而谬谓文长书决在王雅宜、文征仲之上，不论书法而论书神，先生者诚八法之散圣，字林之侠客矣！”",[7,209,23,24,25,173,1116,2570,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df2f85d03ab6130ec22e417c81f958c.jpg","纵30厘米，横420.5厘米",[],{"id":36794,"slug":36795,"title":36796,"dynasty":99,"author":1014,"museum":206,"description":36797,"tags":36798,"thumbUrl":36799,"material":327,"size":36800,"collection":181,"collections":36801,"showCount":36406,"zanCount":48,"manualWeight":48,"mainColor":49},222030,"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[7,23,225,29,177,27,108,109,174,176,34,106,150,866,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 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。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[7,23,29,173,27,177,865,176,6868,174,3024,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b87c8d1b12e8229eb174baba1ea0893.jpg",[],{"id":37079,"slug":37080,"title":37081,"dynasty":99,"author":2902,"museum":311,"description":23827,"tags":37082,"thumbUrl":37083,"material":2164,"size":2165,"collection":139,"collections":37084,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},288044,"shan-shui-zhu-shi-tu-ye-wang-fu-288044","山水竹石图页",[7,23,24,173,226,866,229,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd653c41a55eeac3370945450740a77.jpg",[],{"id":37086,"slug":37087,"title":37088,"dynasty":76,"author":22959,"museum":311,"description":37089,"tags":37090,"thumbUrl":37092,"material":2164,"size":2165,"collection":139,"collections":37093,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":94},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[7,209,23,24,25,1218,27,29,32,557,37,34,108,1087,107,37091,194,266,174,86,263],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":37095,"slug":37096,"title":37097,"dynasty":18,"author":3466,"museum":311,"description":33871,"tags":37098,"thumbUrl":37099,"material":2164,"size":2165,"collection":139,"collections":37100,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},287832,"hu-tu-tu-zhou-mu-xi-287832","虎图图轴",[7,23,225,173,8436,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e702bbd4f5112db67f61a9dcb4cd303.jpg",[],{"id":37102,"slug":37103,"title":37104,"dynasty":99,"author":278,"museum":311,"description":37105,"tags":37106,"thumbUrl":37108,"material":2164,"size":2165,"collection":139,"collections":37109,"showCount":331,"zanCount":1337,"manualWeight":48,"mainColor":49},287795,"shan-hai-bai-ling-tu-juan-tang-hu-gui-fan-shou-tu-yi-ming-287795","山海百灵图卷·唐胡瓌蕃兽图","此卷以苍莽山野为底，百兽珍灵错落游走于松石崖瀑间。工笔勾勒兼施晕染，各色异兽形神鲜活，或奔腾驰跃，或安卧林间，灵动宛然。布景疏密有致，岩壑古拙、松竹清隽，铺展幽旷林泉秘境，将山野生机尽数铺陈。画风古雅沉静，写生功力扎实，将百兽百态与林泉野趣相融，暗合山海灵韵，复刻出上古灵囿的鲜活图景，尽显古典畜兽画的雅致意趣。",[7,23,25,27,28,808,4175,14624,1220,17462,10895,737,37107],"蕃兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcedb0accde94bc9300918503d78dc9e.jpg",[],{"id":37111,"slug":37112,"title":37113,"dynasty":189,"author":645,"museum":311,"description":35057,"tags":37114,"thumbUrl":37115,"material":2164,"size":2165,"collection":139,"collections":37116,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},287309,"bai-ma-tu-juan-zhao-meng-fu-287309","百马图卷",[7,209,23,24,25,27,28,106,150,808,29,34,86,11008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a593e89c3ebaed5bb8b3a9a136f0c5.jpg",[],{"id":37118,"slug":37119,"title":37120,"dynasty":76,"author":1047,"museum":20,"description":37121,"tags":37122,"thumbUrl":37123,"material":2570,"size":139,"collection":328,"collections":37124,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},240552,"pi-pa-xing-juan-zhu-da-240552","琵琶行卷","朱耷（1626—1705），字雪个，又字个山、道朗、个山驴、朗月、 庵、传綮、破云樵者、人屋、驴屋和因是僧、八大山人等。江西南昌人。明朱元璋之子宁献王朱权的后裔。八大山人书法成就颇高，但被画名所掩，注目者不多。黄宾虹尝称“书一画二”，确为至言。八大的书体，以篆书的圆润等线体施于行草，自然起截，了无藏头护尾之态，以一种高超的手法把书法的落、起、走、住、叠、围、回，藏蕴其中而不着痕迹。藏巧于拙，笔涩生朴，此中真义必临习日久才能有所悟。简而言之，是用篆书的笔法去写行草书，与《天发神恰似□碑》以隶笔写篆书一样异曲同工。",[7,86,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dcc5e932fd20cc12ee7e8c9c692f64.jpg",[328],{"id":37126,"slug":37127,"title":37128,"dynasty":76,"author":963,"museum":311,"description":4519,"tags":37129,"thumbUrl":37130,"material":139,"size":139,"collection":328,"collections":37131,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},239910,"yuan-ji-shi-juan-shi-tao-239910","原济诗卷",[7,23,24,25,173,178,2570,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5781609d7b62ce41d0583ef62356b2.jpg",[328],{"id":37133,"slug":37134,"title":37135,"dynasty":189,"author":37136,"museum":20,"description":37137,"tags":37138,"thumbUrl":37139,"material":699,"size":37140,"collection":328,"collections":37141,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},239638,"zhou-bo-qi-zhuan-shu-gong-xue-guo-shi-er-zhen-zhou-bo-qi-239638","周伯琦篆书宫学国史二箴","周伯琦","释文：\n宫学箴。惟民生厚，迷复曷反。爰作之师，由近及远。夔兴虞庠，旦扬周典。有美国胄，执经宫馆。养正匪蒙，勿亟勿缓。庸之煣之，圣功斯显。经国子民，所赉岂浅。惟严惟尊，不在躬践。毁范裂模，皋毗有腼。敬谂从者，圅丈有勔。国史箴。乾象昭列，人文肇兴。结绳既邈，方册是徵。姚妃典谟，三代诰命。褒善斯勖，恶有惩。获麟聿削，是式是承。合辞比类，历世相仍。晋狐称良，奸憝齿冰。暴私蔑实，起薉售憎。史尚传信，匪信匪能。执简以告，下严或圣。蕃阳周伯琦述并书。\n本幅钤“周氏伯琦”、“玉雪坡真逸”、“致用斋”印记三方。鉴藏印有：“越琪私印”、“长白李慎勤伯氏鉴赏章”、“叶恭绰誉虎印”等多方。引首有李慎篆书“伯温墨妙”。本幅后有张雨、方鼎录题跋观款。\n“宫学”指为皇族子弟设立的学校，“国史”指一国之史或一朝之史。“箴”乃一种文体，用以规劝他人或戒律自己。由《元史》本传得知，伯琦于元至正元年（1341年）“为宣文阁授经郎，教戚里大臣子弟。每进讲，辄称旨。”上述二箴或是当时进讲用的教材。\n周伯琦之篆书在当时有“本朝之冠”的美誉。陶宗仪在《书史会要》一书中称“伯琦篆师徐铉、张有，行笔结构殊有隶体。”明代杨士奇认为“其作字结构，盖出泰山李斯旧碑。”伯琦虽师法前人，但不拘于古法，在结体和笔法上参以石鼓文，笔兼方圆，使转变化亦多，整体风格于规整圆熟中见生拙萧散之致，有别于稳妥匀称一类的平庸之作。此卷结字严谨端庄，笔势沉稳丰润，为周氏篆书的上佳之作。",[7,1163,86,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb068151c2e79aefcb7d9d92cdf0abc72.jpg","纵26厘米，横284.5厘米",[328],{"id":37143,"slug":37144,"title":37145,"dynasty":99,"author":26705,"museum":20,"description":37146,"tags":37147,"thumbUrl":37148,"material":841,"size":139,"collection":139,"collections":37149,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[7,23,24,25,173,27,29,177,178,86,5613,176,34,109,108,175,266,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":37151,"slug":37152,"title":37153,"dynasty":277,"author":278,"museum":311,"description":37154,"tags":37155,"thumbUrl":37156,"material":139,"size":139,"collection":139,"collections":37157,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},231580,"yu-en-chun-qiu-liang-yuan-ying-hua-pu-tu-juan-yi-ming-231580","浴恩春秋两园樱花谱图卷","虽然日本没有官方的国花，但樱花之于日本的重要性不言而喻，日本文化的精气神都能在樱花身上得到体现，樱花也成为日本绘画中的常见题材。早在远古，日本人就将樱花看作是春天的化身，是花的神灵。日本语中的“樱时”(古语)，意思就是“春天的时节”。每当春天来临，人们最关注的就是樱花一年一度的花开花落。花蕾结得多少好坏，开花时能否躲过春雨的淋洗开得灿烂，凋谢时能不能遇上春风落瓣洁净。樱花是否开花顺利在日本人看来，意味着这一年是否风调雨顺，五谷丰登。所以每当花开时节，人们就聚集在樱花树下，放歌畅饮，祈祷神灵保佑。",[7,25,24,27,28,2570,178,263,22238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f94d981568dc00430a3f7f9eb71592.jpg",[],{"id":37159,"slug":37160,"title":37161,"dynasty":76,"author":17548,"museum":311,"description":37162,"tags":37163,"thumbUrl":37164,"material":139,"size":139,"collection":139,"collections":37165,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[7,23,24,209,225,27,29,466,108,109,865,12074,176,1871,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":37167,"slug":37168,"title":37169,"dynasty":99,"author":817,"museum":311,"description":37170,"tags":37171,"thumbUrl":37172,"material":139,"size":139,"collection":139,"collections":37173,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":94},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[7,209,23,24,25,28,27,106,107,175,108,109,229,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":37175,"slug":37176,"title":37177,"dynasty":99,"author":3908,"museum":1098,"description":37178,"tags":37179,"thumbUrl":37180,"material":139,"size":139,"collection":139,"collections":37181,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[7,23,24,25,27,177,178,263,29,34,31,174,1265,1843],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":37183,"slug":37184,"title":37185,"dynasty":99,"author":936,"museum":311,"description":37186,"tags":37187,"thumbUrl":37188,"material":139,"size":139,"collection":139,"collections":37189,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[7,23,24,27,28,29,106,175,866,176,34,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":37191,"slug":37192,"title":37193,"dynasty":189,"author":3304,"museum":206,"description":37194,"tags":37195,"thumbUrl":37196,"material":409,"size":37197,"collection":90,"collections":37198,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[7,23,24,173,27,83,2175,109,284,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[90],{"id":37200,"slug":37201,"title":37202,"dynasty":18,"author":2483,"museum":311,"description":37203,"tags":37204,"thumbUrl":37205,"material":139,"size":139,"collection":139,"collections":37206,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[7,209,23,24,26,27,28,29,106,174,109,34,266,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":37208,"slug":37209,"title":37210,"dynasty":18,"author":278,"museum":311,"description":37211,"tags":37212,"thumbUrl":37213,"material":139,"size":139,"collection":139,"collections":37214,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},227913,"zhu-chong-tu-yi-ming-227913","竹虫图","淡赭绘就竹枝，以深浅绿意晕染竹叶，笔下叶片舒展有姿，劲挺又不失柔润，枝桠交错间野意横生。叶面之上，竹虫敛身伏藏，身形与枝叶相融，将蛰伏的静谧暗藏其间。右上角蛱蝶振翅翩跹，墨色点染翅翼，留白衬出轻盈灵动，骤然打破画面静气，动静相映成趣。\n全作笔致工细秀雅，设色清淡雅致，以精微的观察捕捉乡野小景的瞬态生机，将草木虫蝶的自然情态刻画入微，于尺幅之间勾勒出浑然天成的林下意趣，尽显平和悠然的审美意韵。",[7,209,23,24,28,27,83,226,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7f253e2d3b155250d560a92e122b65.jpg",[],{"id":37216,"slug":37217,"title":37218,"dynasty":76,"author":37219,"museum":311,"description":37220,"tags":37221,"thumbUrl":37223,"material":139,"size":139,"collection":139,"collections":37224,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":94},224602,"xiao-pin-1-peng-qiao-224602","小品1","蓬樵","此作用平远之法绘就水岸林泉，近渚古木清森，枝桠舒展含姿，林梢掩映间透出村居一角，野意自生。留白作水，虚处见烟波澹荡之意。远山以干笔淡墨皴写，石棱隐现、苔点错落，丘壑简而有味。\n\n画风师法倪瓒，笔墨松秀苍润，简逸空灵。整幅以淡墨铺陈，萧散简远，将江南水岸清寂淡远的幽谧意境尽显。题印朱白相映，衬出画面的古雅淡远，尽显文人画疏旷清逸的意趣，暗合幽栖林泉的雅逸襟怀。",[7,23,24,37222,173,177,29,34,176,263],"小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02bc93dccf30a6d0e7dc6cfbefdf48d.jpg",[],{"id":37226,"slug":37227,"title":37228,"dynasty":76,"author":37229,"museum":311,"description":37230,"tags":37231,"thumbUrl":37232,"material":139,"size":139,"collection":139,"collections":37233,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},224540,"re-he-xing-gong-quan-tu-guan-nian-ci-224540","热河行宫全图","管念慈","采用全景鸟瞰视角，将行宫城池与环伺群山铺陈于卷间，界画工致严整，山林皴染苍劲古拙。规整的朱红宫墙楼宇，错落嵌入层峦叠翠之间，山道逶迤串联起星罗棋布的山野梵宇行宫。\n\n整体疏密相宜，既细致还原了行宫的恢弘规制与山水格局，又晕染出塞北离宫融于山野林泉的清旷意趣，色彩沉雅厚重，细节入微，是兼具纪实地理价值与传统工笔审美意韵的佳作。",[7,23,25,27,104,28,29,107,1069,153,9908,557,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],{"id":37235,"slug":37236,"title":37237,"dynasty":76,"author":963,"museum":311,"description":37238,"tags":37239,"thumbUrl":37240,"material":139,"size":139,"collection":139,"collections":37241,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":94},224523,"shan-shui-tu-ce-8-kai-8-shi-tao-224523","山水图册8开-8","此作用边角布局造景，右侧崖壁以浓墨皴擦，朴拙苍劲，留白铺就浩渺湖面，虚实相映尽显烟波空濛。水面渔舟错落，渔人或撑舟放网，或围坐闲谈，野趣盎然，崖头行人凭栏远眺，一动一静间，将湖畔日常的闲散诗意铺陈开来。\n\n墨色干湿浓淡层次分明，远山以淡墨晕染，朦胧悠远，近岸苔点灵动鲜活，晕染出江南水泽的温润生机。题诗朱印与画作浑然一体，书画印相映成趣，把偶然得见的湖光野景寄于笔墨，将文人雅趣与世俗烟火相融，尽是师法自然的恬淡悠然。",[7,23,173,27,177,81,263,178,29,174,106,266,229,109,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c782c5e41a5ccb190b00e358db8a2c.jpg",[],{"id":37243,"slug":37244,"title":37245,"dynasty":76,"author":1215,"museum":311,"description":37246,"tags":37247,"thumbUrl":37248,"material":139,"size":139,"collection":139,"collections":37249,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[7,23,24,225,173,177,29,108,109,866,176,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":37251,"slug":37252,"title":37253,"dynasty":76,"author":1584,"museum":311,"description":37254,"tags":37255,"thumbUrl":37256,"material":139,"size":139,"collection":139,"collections":37257,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[7,209,23,24,25,29,27,177,557,34,35,174,109,175,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":37259,"slug":37260,"title":19080,"dynasty":76,"author":27548,"museum":311,"description":37261,"tags":37262,"thumbUrl":37263,"material":139,"size":139,"collection":139,"collections":37264,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[7,23,24,225,173,177,29,466,109,866,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501da569d2b40fd1f218f16cf826ca93.jpg",[],{"id":37266,"slug":37267,"title":37268,"dynasty":76,"author":37269,"museum":311,"description":37270,"tags":37271,"thumbUrl":37272,"material":2164,"size":2165,"collection":139,"collections":37273,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":94},223692,"lin-jiu-cheng-gong-yao-meng-qi-223692","临九成宫","姚孟起","字凤生，一作凤笙，吴县（江苏苏州）贡生。以正书名，正书宗欧阳询，尝临九成宫醴泉铭逼肖。隶书略仿陈鸿寿。兼治印，得蒋仁秀劲之气。偶作画，古拙如金农。",[7,86,621,105,622,8289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed869c5c6cdfb78b48841d0312bddbd.jpg",[],{"id":37275,"slug":37276,"title":37277,"dynasty":18,"author":278,"museum":206,"description":37278,"tags":37279,"thumbUrl":37281,"material":37282,"size":37283,"collection":139,"collections":37284,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},223500,"za-ju-mai-yan-yao-tu-yi-ming-223500","杂剧卖眼药图","图上二位杂剧人物正在表演剧情，左边一人顶着高帽，身穿大袍，四周画满了一只眼的图案，右手高高抬起捏着一物向对方展示；右侧一人右手指眼，似患眼疾，正待用眼药治疗。此图是一幅年俗画，南宋时期宣传杂剧“眼药酸”而画，剧中人物女扮男装，装扮俏皮可爱。",[7,209,23,24,27,28,106,228,63,37280],"杂剧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6eea5d4be471969946b94ba501270ce.jpg","绢本，册页，设色","纵23.8厘米、横24.5厘米",[],{"id":37286,"slug":37287,"title":37288,"dynasty":54,"author":278,"museum":5239,"description":37289,"tags":37290,"thumbUrl":37291,"material":67,"size":37292,"collection":328,"collections":37293,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},223396,"tang-mo-lan-ting-xu-yi-ming-223396","唐摹兰亭序","这卷原托名为褚遂良所书《兰亭序》，正文质地为绢本，黄褐色，亦称“黄绢本”。这卷唐摹《兰亭序》，尽管看不出是哪一家的墨迹，却反映了初唐时期的书法风尚。\n卷前引首有明代著名书画家、鉴赏家董其昌题书“墨宝”二字（残存）。",[7,209,23,24,25,105,178,86,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3875c37e8068d0dba2f56617e5948b96.jpg","24.5×65cm",[328],{"id":37295,"slug":37296,"title":37297,"dynasty":189,"author":278,"museum":206,"description":37298,"tags":37299,"thumbUrl":37301,"material":302,"size":37302,"collection":139,"collections":37303,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 ​​​",[7,209,23,24,28,27,2607,31955,37300,136,137,314,263],"白燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","31.1×60.6",[],{"id":37305,"slug":37306,"title":13574,"dynasty":76,"author":37307,"museum":1279,"description":37308,"tags":37309,"thumbUrl":37310,"material":3812,"size":37311,"collection":90,"collections":37312,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},223304,"gu-mu-zhu-shi-tu-luo-mu-223304","罗牧","图绘岸边一隅古木树叶凋零，枝杆苍劲；石块耸立，粗笔勾勒其轮廓，中部留白；四周翠竹环绕，繁茂苍翠，生机勃勃。",[7,23,173,225,866,1423,226,229,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0b8c417963c4bbe141ba7b938a3e34.jpg","纵127cm，横54cm",[90,163],{"id":37314,"slug":37315,"title":36043,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":37316,"thumbUrl":37318,"material":67,"size":2225,"collection":139,"collections":37319,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},222923,"hong-lou-meng-48-sun-wen-222923",[7,23,28,27,104,107,29,34,175,115,114,37317,35,1267],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":37321,"slug":37322,"title":37323,"dynasty":76,"author":35366,"museum":206,"description":37324,"tags":37325,"thumbUrl":37326,"material":302,"size":37327,"collection":181,"collections":37328,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":94},222846,"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[7,23,24,225,26,27,177,29,34,468,3024,2137,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","120x22",[181,45],{"id":37330,"slug":37331,"title":37332,"dynasty":76,"author":1963,"museum":206,"description":37333,"tags":37334,"thumbUrl":37335,"material":1972,"size":37336,"collection":181,"collections":37337,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},222821,"chi-song-huang-shi-er-xian-tu-zhou-xu-yang-222821","赤松黄石二仙图轴","绘赤松一板凳，粗壮笔真，松枝弯曲自然，松针繁多清晰；黄石耸立，形状奇异；地面翠竹、杂草生机勃勃。",[7,23,225,27,28,1365,4272,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053720c8ce76759a8f675e7ff855123d.jpg","172.1x71厘米",[181],{"id":37339,"slug":37340,"title":37341,"dynasty":99,"author":37342,"museum":206,"description":37343,"tags":37344,"thumbUrl":37345,"material":13665,"size":37346,"collection":181,"collections":37347,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},222462,"fu-kan-ji-liu-tu-zhou-wang-shi-chang-222462","俯瞰激流图轴","王世昌","王世昌（约1462－1531以后），明代画家，为山东人。我们无法确知他是否担任过宫廷画家。他擅长于大幅的山水人物画，风格温润典雅，颇具诗意。传世有〈大幅山水〉、〈俯瞰激流〉等作。俯瞰激流图 主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[7,23,27,177,29,106,1423,866,558,109,114,939,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","33x53",[181,45],{"id":37349,"slug":37350,"title":37351,"dynasty":99,"author":14621,"museum":20,"description":37352,"tags":37353,"thumbUrl":37354,"material":527,"size":37355,"collection":44,"collections":37356,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},222421,"wu-hou-gao-wo-tu-juan-zhu-zhan-ji-222421","武侯高卧图卷","从款中“宣德戊申”可知，此幅作于明宣德三年（1428年），是宣德皇帝赐予陈瑄的御作。当时陈瑄已六十有余，宣宗赐画给他的目的是激励他效法前贤为国鞠躬尽瘁。\n作品描绘的是诸葛亮出茅庐辅助刘备之前隐居南阳的形象。修竹丛下，诸葛亮坦胸露怀，头枕书匣，躺卧于草地上，神态安逸。\n整幅构图饱满，人物用“钉头鼠尾” 法描绘，线条洗练流畅，背景画竹林一片，笔墨潇洒，显示出相当高的绘画技巧。",[7,23,24,25,173,244,226,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F819d2965a332e5986283ad45900d2c5f.jpg","纵27.7厘米，横40.5厘米",[44,163],{"id":37358,"slug":37359,"title":37360,"dynasty":99,"author":16327,"museum":78,"description":37361,"tags":37362,"thumbUrl":37363,"material":1116,"size":37364,"collection":139,"collections":37365,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":49},222313,"you-bao-shan-ji-juan-wang-chong-222313","游包山集卷","1520年，王宠游昆陵包山，曾任游诗数首，结为《包山集》。1526年冬，王宠过鸿溪宿友人补菴居士处，居士几他索书。第二年（1527年），他便将八年前游包山所作的游诗用小楷抄录了二十二首寄给了补菴居士。他的朋友文嘉在居士处见到这卷小楷后，称之为“天才妙绝”。后人普遍认为《游包山集》是王宠的小楷代表作。宋苏轼曾说：“大字难于结密而无间，小字难于宽绰而有余。”王氏这卷《游包山集》，其结体“宽绰而有余”，其书风旷适疏宕，遒媚飘逸，谓王氏上乘之作言而不虚。",[7,86,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d485a391896b76017a1fa0081d0aa1.jpg","纵21.6cm，横323.5cm",[],{"id":37367,"slug":37368,"title":37369,"dynasty":99,"author":16587,"museum":20,"description":37370,"tags":37371,"thumbUrl":37372,"material":1691,"size":37373,"collection":181,"collections":37374,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":94},222055,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","晴雪长松图轴","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[7,23,24,225,173,29,403,176,177,1775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[181,163],{"id":37376,"slug":37377,"title":37378,"dynasty":99,"author":35170,"museum":25575,"description":37379,"tags":37380,"thumbUrl":37381,"material":573,"size":37382,"collection":90,"collections":37383,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},221918,"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","此画不拘于象的写法发挥至极致，其勾点皴擦，随心所欲，绝出尘象之外",[7,209,23,24,225,27,28,83,84,4701,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[90,45],{"id":37385,"slug":37386,"title":23472,"dynasty":189,"author":18509,"museum":206,"description":37387,"tags":37388,"thumbUrl":37389,"material":712,"size":37390,"collection":181,"collections":37391,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},221729,"gao-ting-tu-fang-cong-yi-221729","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[7,23,209,24,225,173,177,29,175,34,263,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[181,163],{"id":37393,"slug":37394,"title":37395,"dynasty":189,"author":13201,"museum":206,"description":37396,"tags":37397,"thumbUrl":37398,"material":81,"size":37399,"collection":139,"collections":37400,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},221696,"fang-ni-zan-hua-mo-zhu-zhou-gu-an-221696","仿倪瓒画墨竹轴","墨竹三竿，葉片在勁風吹拂下，飛揚搖曳，彷佛可以聽到呼嘯的風聲和葉片摩擦的聲音。前後兩竹，一濃一淡，好像隔了一層淡淡的霧氣，剛直秀勁中又有婀娜温婉之意。",[7,209,23,24,225,173,105,226,229,2694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47784ae4659f6b95e770f86d3397a48.jpg","该幅93.5x52.3公分；全幅105.3公分",[],{"id":37402,"slug":37403,"title":37404,"dynasty":18,"author":16226,"museum":311,"description":22280,"tags":37405,"thumbUrl":37407,"material":27,"size":37408,"collection":42,"collections":37409,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图",[7,209,23,24,1004,1218,27,177,29,34,2137,106,468,558,1265,37406],"林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[42,181,45],{"id":37411,"slug":37412,"title":37413,"dynasty":18,"author":2297,"museum":20,"description":37414,"tags":37415,"thumbUrl":37416,"material":40,"size":37417,"collection":139,"collections":37418,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":94},221598,"ji-chu-dai-si-tu-ye-li-di-221598","鸡雏待饲图页","本幅款识：“庆元丁巳岁李迪画。”“庆元丁巳”即宋宁宗庆元三年（1197年）。鉴藏印钤宋代“张则印”，明代“项元汴印”、“墨林秘玩”、“项墨林鉴赏章”、“神”、“品”等，又一朱文印模糊不辨。裱边钤清乾隆皇帝“太上皇帝之宝”、“八征耄念之宝”玺印2方。\n图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。",[7,209,23,24,81,28,27,83,2801,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efabd7d00ba834838d90b0ccf1737a.jpg","纵23.7厘米，横24.6厘米",[],{"id":37420,"slug":37421,"title":1462,"dynasty":18,"author":11652,"museum":222,"description":6737,"tags":37422,"thumbUrl":37424,"material":4130,"size":37425,"collection":42,"collections":37426,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},221584,"shan-shui-tu-li-an-zhong-221584",[7,23,209,24,29,173,177,866,1423,34,37423,4064],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","33x34",[42,181,163],{"id":37428,"slug":37429,"title":37430,"dynasty":54,"author":278,"museum":311,"description":37431,"tags":37432,"thumbUrl":37434,"material":139,"size":139,"collection":328,"collections":37435,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},221123,"miao-fa-lian-hua-jing-di-7-chang-bu-qing-pu-sa-pin-di-er-shi-yi-ming-221123","妙法莲华经第7常不轻菩萨品第二十","此卷小楷精劲凝练，结体端稳匀整，通篇气息肃穆沉静，笔底带着写经人奉持的至诚之心。古纸泛着沉郁昏黄，乌墨历久弥亮，卷上的修补痕迹，是时光镌刻下的印记。它带着唐代民间写经的典型风貌，将信仰融于毫端，每一笔都带着安定的力量，无刻意妍美雕琢，只以质朴工整的笔墨，承载着佛法传播的厚重脉络。我们得以透过这卷经文，触摸千年前日常书写的真实温度，窥见那个时代里宗教虔诚与书法美感相融的独特质感。",[7,10270,5152,621,86,25,243,5153,37433,8289],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f3f7e7cae4bafa85eb99d5b485a537.jpg",[328],{"id":37437,"slug":37438,"title":37439,"dynasty":54,"author":278,"museum":311,"description":37440,"tags":37441,"thumbUrl":37442,"material":139,"size":139,"collection":328,"collections":37443,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":94},221117,"fo-jing-bai-fu-yan-xian-yan-yi-ming-221117","佛经白佛言贤言","本作是典型唐代写经小楷，结体方正匀整，笔画精劲舒展，法度谨严却不失温雅灵秀。墨色乌亮莹润，历经岁月依旧澄澈明净，笔锋起落间尽显恭谨端严，藏着写经人虔诚的向佛之心。浅褐绫边搭配卷草纹镶饰，古朴雅致的装裱更衬经文静穆端庄的气韵，堪称唐人写经的上乘之作，将书法的笔墨意趣与佛门清寂禅意相融，尽显唐代抄经手扎实深厚的书法功底。",[7,23,24,86,5152,621,243,5153,10270,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1805b45ccac6ec8cd0d35a91c0cb25b4.jpg",[328],{"id":37445,"slug":37446,"title":37447,"dynasty":189,"author":645,"museum":56,"description":37448,"tags":37449,"thumbUrl":37450,"material":37451,"size":37452,"collection":90,"collections":37453,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[7,23,24,25,173,28,150,106,263,86,178,1163,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[90,45],{"id":37455,"slug":37456,"title":37457,"dynasty":189,"author":645,"museum":11360,"description":37458,"tags":37459,"thumbUrl":37460,"material":699,"size":37461,"collection":328,"collections":37462,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},220882,"gui-qu-lai-ci-juan-hua-xin-zhao-meng-fu-220882","归去来辞卷画芯","自东晋陶渊明的一曲《归去来辞》问世以来，为历代文士所雅好。赵孟頫以宋室后裔入仕元朝，在其任官期间许多次以真、行书写过此篇，其归隐思乡情绪全在其中。\n此卷书于元延佑五年，即1318年，是年赵孟頫六十五岁。\n全篇以行、楷为主，偶参草书，笔法秀媚典雅，苍劲浑厚，结构严密，用笔婉转停匀，具有晋人风范。",[7,209,23,24,25,178,244,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58edf3bc226e67307b138bb359553070.jpg","纵48厘米，横455厘米",[328],{"id":37464,"slug":37465,"title":37466,"dynasty":189,"author":645,"museum":56,"description":37467,"tags":37468,"thumbUrl":37469,"material":32949,"size":37470,"collection":44,"collections":37471,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[7,23,24,25,27,28,243,106,384,176,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[44,45],{"id":37473,"slug":37474,"title":37475,"dynasty":949,"author":3807,"museum":3808,"description":37476,"tags":37477,"thumbUrl":37478,"material":139,"size":139,"collection":139,"collections":37479,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},220525,"huang-zhen-zhi-xiang-xu-bei-hong-220525","黄震之像","此作将写实精微与写意意趣熔于一炉，笔情墨趣间尽显文人风骨。\n画家以细腻笔触勾勒传主容貌，鬓边霜色、面部纹路皆细致晕染，把文人温雅沉静的神态精准定格。宽袍长衫以写意笔墨铺就，苍劲松枝顶天立地，暗合传主刚直品格；篱畔秋菊与幽竹错落点缀，晕开悠然清寂的意境。\n中西技法相融，打破传统肖像的陈规，传神写真与寄情抒怀合二为一，在写实的真切质感之外，晕染出传统笔墨的诗意余韵，将文人冲淡自持的精神风骨凝于画间。",[7,23,24,225,27,173,106,866,692,229,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b6bf1a5072c1e72fed543fb949df29.jpg",[],{"id":37481,"slug":37482,"title":37483,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":37484,"thumbUrl":37485,"material":699,"size":4054,"collection":139,"collections":37486,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},220327,"huang-shan-tu-ce-4-hong-ren-220327","黄山图册-4",[7,23,464,81,177,29,176,108,109,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ceb6ea4ddc9fb9c6fcb7d328c018253.jpg",[],{"id":37488,"slug":37489,"title":1330,"dynasty":189,"author":7821,"museum":78,"description":37490,"tags":37491,"thumbUrl":37492,"material":67,"size":37493,"collection":90,"collections":37494,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},219638,"zhu-shi-tu-ke-jiu-si-219638","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[7,23,24,209,1352,173,226,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed570f5ae80a8cf1f11fe236660d293.jpg","纵28.4厘米，横25.1厘米",[90],{"id":37496,"slug":37497,"title":37498,"dynasty":76,"author":37499,"museum":447,"description":37500,"tags":37501,"thumbUrl":37502,"material":123,"size":139,"collection":44,"collections":37503,"showCount":331,"zanCount":2209,"manualWeight":48,"mainColor":49},219559,"yu-jia-miao-e-tu-min-zhen-219559","渔家媌娥图","闵贞","垂柳依依拂过空蒙水岸，将江南水乡的柔婉晕染开来。画中渔女荷秤伫立，衣袂线条简劲爽利，带着写意的疏朗，却把渔家劳作后的倦怠质朴刻画入微。人物面部晕染柔和，神情恬淡安然，静望着烟水澹澹的江天，仿佛正等候归船。\n\n背景以淡墨虚化远山，柳枝细笔密叶写出，繁而不乱，与人物的简淡形成虚实对比，烘托出幽寂清旷的氛围。整作以水墨写就，墨色干湿浓淡层次分明，尽显文人写意雅致，又饱含烟火情味，将平凡渔家日常升化为诗意图景，在简淡笔墨间蕴藏悠悠江南意趣。",[7,23,24,225,244,106,59,866,229,1322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3e252e59b1f535e258aa0277d37b52.jpg",[44],{"id":37505,"slug":37506,"title":37507,"dynasty":76,"author":26505,"museum":20,"description":37508,"tags":37509,"thumbUrl":37510,"material":123,"size":37511,"collection":90,"collections":37512,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},219343,"jin-yun-zhui-tu-ai-qi-meng-219343","锦云骓图","绢本之上，骏马静立却藏矫健之姿。白褐相间的毛色如锦云裁缀，晕染间显西洋光影之妙，线条勾勒又含东方工笔之精。鬃毛纤毫毕现，似有风掠过；尾梢垂落如瀑，暗蕴沉实力度。马目圆睁神凝，肌肉线条隐于细腻笔触下，既见体格之健硕，更显灵性之鲜活。背景素净无华，恰以留白衬出主体的雍容生动。整幅画融中西技法于一炉，既承传统鞍马画的气韵风骨，又添写实求真的细腻质感，将骏马的神骏与优雅尽展纸上，堪称清代鞍马图中兼具技艺与意趣的精品。",[7,209,23,24,28,27,150,808,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fde2ff5f4c2ca6c9075550a4f9c5b2.jpg","纵229横276厘米",[90,45],{"id":37514,"slug":37515,"title":37516,"dynasty":18,"author":278,"museum":12728,"description":37517,"tags":37518,"thumbUrl":37519,"material":123,"size":37520,"collection":181,"collections":37521,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":94},218634,"zhang-song-lou-tai-tu-yi-ming-218634","长松楼台图","长松倚崖而立，虬干如铁，松针密簇，苍劲中藏秀逸之态。山间楼阁隐于林麓，飞檐翘角，廊柱分明，尽显匠作之精。远山层叠，云雾轻萦，墨色由近及远渐淡，留白处意蕴悠长。近景山石皴法细腻，纹理毕现；远景写意晕染，天地清旷。笔墨刚柔相济：树石之劲健与云雾之轻柔相映，楼台之工整与山水之雄浑相衬。画面静谧悠远，似有松涛穿林，山风拂檐，将宋时文人对自然的眷恋凝于尺幅。虽为小品却含大气象，尽显“天人合一”的审美意趣，笔墨间藏着宋画独有的清旷与雅致，观之如临幽境，忘尘俗之扰。",[7,23,24,1352,27,104,29,1365,107,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d5aa0817149a9d7ed920480d9f97cf.jpg","24.8x23.5",[181],{"id":37523,"slug":37524,"title":37525,"dynasty":99,"author":37526,"museum":447,"description":37527,"tags":37528,"thumbUrl":37529,"material":123,"size":37530,"collection":181,"collections":37531,"showCount":331,"zanCount":48,"manualWeight":48,"mainColor":49},218505,"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 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92.1x2601.3公分",[],{"id":37723,"slug":37724,"title":7344,"dynasty":54,"author":3797,"museum":206,"description":37725,"tags":37726,"thumbUrl":37727,"material":573,"size":2165,"collection":139,"collections":37728,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},287704,"xi-ma-tu-han-gan-287704","韩干，唐画家。京兆蓝田（治今陕西西安）人。相传年少时曾为酒肆雇工，经王维资助，学画十馀年而艺成。擅绘肖像、人物、鬼神、花竹，尤工画马，曾师曹霸而重视写生。经历唐玄宗年间，被召入宫封为“供奉”。此后专跟宫中画马名家陈闳学习画，但进展不太显著，后来韩干改变只临摹不写生的方法，经常到马厩里去，细心观察马的习性，对比找出马的性格特征，找出马的动作规律，并把各种各样的马记录在案。日子久了，人们对韩干经常进入马厩，甚至搬到马厩里和饲养人一起住感到奇怪。韩干回答说：“我学习画马，马厩里所有的马都是我的老师”。为了深入了解马的习性，他常痴呆地观察上几个时辰，把别的画家不了解的具体细节都弄得清清楚楚，并牢记心上。这样时间久了，马的各种体貌，奔跑雄姿，千变万化的动态，作画之时自然而然就展现在纸上。所以人们都称赞韩干笔下的马是能跑动的马。",[7,23,24,106,150,28,27,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba3b5ac63eeb38d707e63aad4facfc.jpg",[],{"id":37730,"slug":37731,"title":16576,"dynasty":99,"author":15579,"museum":311,"description":37732,"tags":37733,"thumbUrl":37734,"material":2164,"size":2165,"collection":139,"collections":37735,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},287609,"shan-shui-tu-zhou-xie-shi-chen-287609","谢时臣，明代画家，字思忠，号樗仙，吴（今江苏省苏州市）人。谢时臣工山水，师法吴镇， 得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[7,209,23,24,225,173,177,29,107,108,109,175,176,34,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":37737,"slug":37738,"title":37739,"dynasty":189,"author":27824,"museum":311,"description":37740,"tags":37741,"thumbUrl":37742,"material":2164,"size":2165,"collection":139,"collections":37743,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},287595,"xue-jiang-tu-luo-zhi-chuan-287595","雪江图","罗稚川 江西临川人。元代著名画家。生卒年不详，大致生活于元代前期。\n生卒年不详，大致生活于元代前期。据元代虞集（1272-1348）《空山歌》载，他于“弱冠”之年，曾见罗稚川“挥翰甚风流”，从虞氏生年（1272）下推，大约在1292年时罗稚川尚在世。虞集记载了罗氏早年生涯：“忆昔侍郎镇成都，将佐盈庭宾客趋；锦官城外笳鼓发，驷马桥边高盖车。”据此，罗稚川曾是南宋时镇守四川成都的年轻将领。理宗端平三年（1236）金兵陷成都，特别是宋亡，彻底改变了他的人生道路，他开始了隐居生活。宋亡，入元不仕，以诗画自娱。",[7,23,29,173,865,266,2019,1265,6868,866,1423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f49c6e94f47e131b9e2f7bbb1c31cc.jpg",[],{"id":37745,"slug":37746,"title":19796,"dynasty":189,"author":3051,"museum":311,"description":17691,"tags":37747,"thumbUrl":37748,"material":2164,"size":2165,"collection":139,"collections":37749,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},283618,"li-hua-tu-qian-xuan-283618",[7,23,209,25,24,83,1409,178,86,263,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c47c67343792d97cc1609ddfe962a6c.jpg",[],{"id":37751,"slug":37752,"title":37753,"dynasty":76,"author":278,"museum":20,"description":37754,"tags":37755,"thumbUrl":37757,"material":3071,"size":37758,"collection":328,"collections":37759,"showCount":904,"zanCount":1337,"manualWeight":48,"mainColor":94},239698,"yu-min-zhong-shu-bu-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-que-bi-juan-yi-ming-239698","于敏中书补戏鸿堂刻柳公权兰亭诗阙笔卷","于敏中擅长书法，尤工楷书和行书，其书法风格乃是透过学习赵孟頫与董其昌而上溯至二王，是几位经常为乾隆皇帝捉刀的大臣之一，曾负责为皇帝拟定诏书。《戏鸿堂法帖》所刻柳公权兰亭诗多有阙笔不全，乾隆四十三年（1778年）命于敏中就刻本漫漶阙划处，因其偏旁补成全字，并仿董其昌临本（兰亭八柱之七）书之，原刻本及董书所无之阙字、阙句，则仍按其旧。目的是既要重新摹刻上石，又要保留原来的书法风貌，“俾还旧观”。本幅正是于敏中奉敕摹补柳公权书兰亭诗阙笔卷。其原诗用较大字书写，遇有某首诗有补阙的字、原刻的别字、错字，诗后则小字注明，如：王彬之四言诗“丹崖竦立，葩藻映林，渌水扬波，载浮载沉”后注：按此诗崖字、扬字原刻有阙笔今补；王羲之五言诗“……大矣造化功，万殊莫不均，……”后注：按此诗“功”字原刻作“切”，今从董临本改。有的地方，董临本没有的或阙损严重的，于敏中就其具体情况，也有补添上的。如:在郗曇、虞悦、孙嗣的三首五言诗后，注：按郗曇、虞悦、孙嗣三诗董临本所无，而原刻有之，今仍为临补；王徽之五言诗“先师有冥藏，安用羁世罗，未若保冲真，齐契箕山河”后注：后阙二句，董临本无，而原刻有之，亦为临补……。由于是皇帝之命，不敢草率行事，书写起来格外仔细认真，结字严整，布白均匀，墨之浓淡恰到好处。但是三十七首诗中，也同样与内府钩填本一样缺少王涣之五言诗最后一句“玄契齐古今”，除此之外，它呈现出的是兰亭诗墨迹的全貌。\n著录于《石渠宝笈续编》。清代刻入“兰亭”八柱，列为第六。",[7,86,178,25,263,37756,173,2547],"补阙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d7970b003c44a350301a35655f7790.jpg","纵28.7厘米，横688.2厘米",[328],{"id":37761,"slug":37762,"title":37763,"dynasty":18,"author":886,"museum":20,"description":37764,"tags":37765,"thumbUrl":37766,"material":5507,"size":37767,"collection":328,"collections":37768,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},239637,"chen-rong-shu-zi-shu-shi-juan-chen-rong-239637","陈容书自书诗卷","释文：\n潘公海夜饮书楼。陈容。夫君美无度，视世一鼠肝。□夫失意时，不知枢在环。云气上罍樽，渠作瓦缶看。八暝同眼精，我眼双剑寒。潘江字□海，陆海无波澜。文章有战胜，此道难跻攀。向来闻歌商，政以静体观。收心学潜圣，吾身重丘山。岂必猎众智，茫茫芡走盘。诫身与教子，户内天壤宽。苜蓿上朝盘，道人斋入关。土田非蒺藜，莫问岁事艰。夫君不长贫，身在世转难。戊戌前四月书。公海执此为历。此纸得之临川故人家，借此言久交耳。诗不足道。\n本幅鉴藏印钤“双清”、“是为双氏在山泉馆藏物”、“双清长寿”及叶恭绰诸印。卷后有叶恭绰题跋一则。文中纪年“戊戌前四月书”，为宋嘉熙二年（1238年）。\n此书放笔恣纵，有颜真卿遗意，圆中带方，又不尽颜法。行字大小错落，线条粗细变化明显，跌宕有致，自成一格。",[7,86,25,178,2570,173,2547,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617a32f0c07c0ede918e5171afbf90a1.jpg","纵31.1cm，横382.8cm",[328],{"id":37770,"slug":37771,"title":10657,"dynasty":99,"author":37772,"museum":37773,"description":37774,"tags":37775,"thumbUrl":37776,"material":841,"size":37777,"collection":139,"collections":37778,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},234181,"shan-shui-tu-juan-zhang-fu-234181","张復","烟台市博物馆","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[7,23,24,25,173,177,29,30,31,109,34,35,108,266,229,1422,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],{"id":37780,"slug":37781,"title":37782,"dynasty":277,"author":278,"museum":311,"description":37783,"tags":37784,"thumbUrl":37787,"material":2164,"size":2165,"collection":139,"collections":37788,"showCount":904,"zanCount":2209,"manualWeight":48,"mainColor":629},231692,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231692","室町时代 隋时佛像","此作为护法风神造像，三眼怒目虬髯，身姿雄健昂扬，甲胄纹饰描金敷彩，华美精细。画作配色浓烈厚重，朱红、石青撞色衬出神祇慑人的威严气场，飘带与焰纹灵动舒展，为刚性造像晕染出飞扬动感，将护法神祇的狞厉威仪刻画得淋漓尽致，兼具宗教美术的肃穆张力与东方绘画的线条韵律，尽显中古宗教造像绘画的雄浑神采。",[7,9700,23,27,28,225,243,106,37785,2508,37786,2220,539,12210],"铠甲","火焰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3550cccef8f7c7d37a7f459e7a485b1b.jpg",[],{"id":37790,"slug":37791,"title":37792,"dynasty":76,"author":16528,"museum":1279,"description":37793,"tags":37794,"thumbUrl":37795,"material":40,"size":37796,"collection":139,"collections":37797,"showCount":904,"zanCount":2209,"manualWeight":48,"mainColor":94},231571,"xian-qiao-qi-zi-tu-fei-dan-xu-231571","闲敲棋子图","该图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花。左上角款题：“翠羽声中春梦残，扑襟香雪影珊珊。可知一样梅花骨，不畏东风料峭寒。”\n该图仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，姿态自然生动，十分传神，充分体现出费丹旭仕女图的美学特征。",[7,23,24,225,27,28,106,59,22579,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb5aa27513dfa8005db724ff4b6b3cf.jpg","137cmx33cm",[],{"id":37799,"slug":37800,"title":34030,"dynasty":99,"author":37801,"museum":311,"description":37802,"tags":37803,"thumbUrl":37804,"material":139,"size":139,"collection":139,"collections":37805,"showCount":904,"zanCount":2209,"manualWeight":48,"mainColor":49},230949,"shou-shan-fu-hai-tu-leng-qian-230949","冷谦","此作以浩渺沧海为主体，细劲线条勾绘层叠水纹，如鳞似浪，将海涛不息的灵动与苍莽尽数铺展。几座仙山错落浮沉于碧波间，山石以青绿晕染，皴笔勾勒出奇崛硬朗的山势，刚劲山海与柔婉浪涛形成绝妙的刚柔对照。\n\n右上角题诗衬景，让烟波之间更添缥缈仙气，整幅画作将山海辽远之境与祥瑞题旨相融，工致古雅，尽显静谧恢宏的山海气象。",[7,23,24,225,27,29,32596,176,229,263,3191,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680aaa4850da94d3d3296008a2b2c881.jpg",[],{"id":37807,"slug":37808,"title":37809,"dynasty":76,"author":278,"museum":311,"description":27412,"tags":37810,"thumbUrl":37811,"material":2164,"size":2165,"collection":139,"collections":37812,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},230346,"jin-ping-mei-cha-tu-ce-ye-6-kai-yi-ming-230346","金瓶梅插图册页6开",[7,23,24,81,27,28,106,59,107,298,5767,402,226,228,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a5e05634aa376be46434f42b70072b.jpg",[],{"id":37814,"slug":37815,"title":37816,"dynasty":76,"author":21699,"museum":311,"description":37817,"tags":37818,"thumbUrl":37819,"material":139,"size":139,"collection":139,"collections":37820,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},229040,"liu-an-chun-feng-tu-pu-ru-229040","柳岸春风图","此作以淡墨写意铺陈春岸景致，近坡枯荣交织的岸柳虬枝柔条相映，苍朴坡石野趣自生。烟波空濛间渔舟错落，渔人或撑篙行舟，或泊船闲坐，自在悠然。远山以淡墨轻晕，帆影杳渺隐于烟岚之中，留白尽显江天寥廓的清远空寂。\n\n简淡秀雅的笔墨，未作繁复皴染，却将春岸风柔波暖的温煦，渔家乐的恬然意趣融于尺幅。把江南春日的闲逸野趣铺陈开来，寄寓了归心丘壑的雅逸襟怀，淡远萧疏间漫溢融融春意，悠悠古意扑面而来，尽显文人山水画寄情山水的悠然意境。",[7,23,173,244,27,29,1322,174,109,106,176,867,34,4218,6005,9672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9995c8d550395c6272b742eac90d75b7.jpg",[],{"id":37822,"slug":37823,"title":37824,"dynasty":99,"author":278,"museum":311,"description":37825,"tags":37826,"thumbUrl":37827,"material":139,"size":139,"collection":139,"collections":37828,"showCount":904,"zanCount":2209,"manualWeight":48,"mainColor":49},228811,"li-shu-tu-yi-ming-228811","荔鼠图","此作以工笔出之，褐绢为底，将白鼠偷食荔枝的闲趣小景描摹入微。白鼠通身莹白蓬松，毫发毕现，垂首啮果时神态专注娇憨，灵动鲜活。荔枝丹红饱满，果纹凸起写实如生，浓绿叶片阴阳向背层次分明，虬曲枝桠苍劲舒展，尽显南国佳果鲜活意趣。右上角朱印古雅，为画面晕染出金石气韵。设色明丽和谐，精工中带着松弛生机，既有院体画的细腻写实，又暗合数子多福的世俗吉意，把日常琐细绘得意趣悠长。",[7,209,23,24,28,27,83,808,9259,2266,607,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d85ef4870573bfff3e3eb899193a5a.jpg",[],{"id":37830,"slug":37831,"title":37832,"dynasty":99,"author":3839,"museum":311,"description":37833,"tags":37834,"thumbUrl":37835,"material":139,"size":139,"collection":139,"collections":37836,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},228494,"ti-zhu-tu-du-jin-228494","题竹图","《题竹图》是明代画家 创作的一幅绢本设色画，现藏于北京故宫博物院。\n图绘一老者持笔对竹题诗，左侧一小童捧砚待候，右侧一老一少旁观。\n背后巨石衬托，石栏弯曲，竹林苍翠，枝叶繁茂。\n观其情节，应是“东坡题竹”的故事，人物刻划细腻，设色淡雅。\n东坡宽袍大袖，峨冠长髯，风度洒逸。\n衣较多用“钉头鼠尾描”，劲健有力。\n墨竹主干细加晕染，逐节分明，笔墨亦显细秀特色。\n该图描绘的是“东坡题竹”的故事。\n画面上右侧峭陡的立石拔地而起，且向左倾斜，山巅高耸，冲向云霄，山势险峻。\n画幅左侧与中间画有数株墨竹，相互交错，竹竿细高挺拔，枝叶疏密有致。\n在竹荫山石下画有四人，中间一位为苏东坡，正在持笔对竹题诗，前面一童子捧砚，身后一老幼正在围观。\n背后巨山衬托，石栏弯曲，竹林苍翠，树叶繁茂。\n该图画面右上方画家自题曰：“竹色经秋似水清，小阑凉气午来生。\n新诗题上三千首，散作铿金戞玉声。\n柽居杜堇。\n”下钤印两方，一白文印文字不辨，另一为朱文“青天白日”印。\n明代画坛，在南京出现了一些能诗会文能书擅画，且性格开朗，豪放不羁的独具风格的文人画家，杜堇就是其中一位。\n他的人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示出一派文人画的格调。\n《题竹图》就是他这方面的代表作。\n《题竹图》以“东坡题竹”为题材，东坡即宋代文豪苏轼，非常喜欢竹，既爱赏竹，又爱画竹、咏竹，其咏竹之诗也常被他题于竹上。\n该图构图呈长方形，上留天，下不留地，在画幅上面空旷处，有作者自题七绝诗且款“村居杜堇”，起到补白的作用。\n画面左上方空白，有一枝墨竹梢穿天向上，且枝头向右伸展，起到了补空及平衡作用，使画面构图充实饱满。\n画面中部又有构筑的月台近景。\n该图画法上，山石采用皴法干擦，接近 、 画派。\n墨竹从生以浓墨画叶、竿，以淡墨为枝。\n竹竿浓淡远近分明、枝叶向背扶疏，笔法秀逸。\n枝叶纷披，偃卧、挺立、悬挂，娇健多姿，从竹迎风摇曳。\n人物结构准确，东坡宽袍大袖，峨冠长髯，风度洒逸。\n面部略施铅粉。\n用笔简练劲挺，人物形象细腻传神，衣褶工整流畅，着色雅淡，为明代人物画的一种风格。\n北京故宫博物院研究员王中旭：图中人物衣纹简洁，多方折用笔，或起笔略顿收笔渐轻，或起笔较轻收笔略顿，转折处多略顿，是在浙派戴进所创 描的基础上演变而成，但相对戴进之苍劲雄放而言显得较为文雅内敛。\n图中翠竹挺拔，山石耸峙，其中前景山石用侧笔皴擦点染，笔墨酣畅，动感较强，后景山石用淡墨挥染，沉着淋漓，主要师法的是南宋院体和浙派笔法。\n杜堇，生卒年不详，原姓陆，字惧男，一作南，号柽居、古狂、青霞亭长，丹键（今属江苏）人，居燕京（今北京）。\n宪宗成化年间（1465年—1487年）试进士不第，于是绝意进取。\n工诗文，通六书，善绘事，取法南宋院画体格，最工人物，笔法细劲畅利，当时推为白描高手，又能作飞白体。\n亦善山水、花、鸟兽，界画楼台，格局严整，为论者所重。",[7,23,27,28,106,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab7d37fb2da1c17cd7b315268f3492e.jpg",[],{"id":37838,"slug":37839,"title":37840,"dynasty":99,"author":27176,"museum":311,"description":37841,"tags":37842,"thumbUrl":37843,"material":139,"size":139,"collection":139,"collections":37844,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[7,209,23,24,25,173,27,1904,178,2570,263,4675,4676,928,407,226,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],{"id":37846,"slug":37847,"title":37848,"dynasty":99,"author":936,"museum":311,"description":37849,"tags":37850,"thumbUrl":37851,"material":139,"size":139,"collection":139,"collections":37852,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},228302,"he-shi-tu-chen-hong-shou-228302","荷石图","此作以顽石为骨，笔墨苍浑古拙，皴擦间尽显嶙峋厚重。白莲挺生于石侧，瓣色莹白柔润，舒展如绰约君子，刚柔相映，意趣悠长。荷叶墨色浓淡层叠，残叶带露暗生意态，水面细纹轻曳，浮萍点染，漾出清浅凉意。\n\n题字清隽搭配朱印提亮，融书画印为一体。整幅静穆超拔，将水畔幽寂夏景收于尺幅，既有文人水墨的淡逸，又以奇崛造型独显格调，恍若将溽暑间的一缕清寂凝于纸面。",[7,23,24,27,28,136,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70da03aa0c6f05f9a9f6377a8ee1adc4.jpg",[],{"id":37854,"slug":37855,"title":6694,"dynasty":99,"author":936,"museum":311,"description":37856,"tags":37857,"thumbUrl":37858,"material":139,"size":139,"collection":139,"collections":37859,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},228294,"luo-han-tu-chen-hong-shou-228294","此作以古拙高简之笔，绘就禅意萧疏之境。罗汉席地而坐，凸额深目大耳，面容奇崛清癯，手持长策侧目凝神，沉静出尘。衣纹以涡旋状高古游丝描勾勒，繁复层叠却丝毫不显冗杂，将僧袍厚重垂坠之态尽显，笔力圆劲凝练。\n\n背景淡墨晕染，虬曲老树枝桠舒展，繁花缀于青叶间，幽草疏落生姿，衬出林间幽寂空远之境。淡设色清雅内敛，以夸张变形的造型，脱尽世俗烟火气，尽显超拔出尘的禅家意韵，古韵悠然，奇骇雅致。",[7,209,23,24,27,28,106,243,34,229,928,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b69c8b504945e6a0218915535961f3.jpg",[],{"id":37861,"slug":37862,"title":37863,"dynasty":189,"author":2996,"museum":311,"description":37864,"tags":37865,"thumbUrl":37866,"material":139,"size":139,"collection":139,"collections":37867,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},228266,"zhu-que-tu-li-zhou-li-kan-228266","竹雀图立轴","此作用双勾法写竹，笔致工稳匀净，竹挺拔劲秀，叶片俯仰向背层次分明，尽显君子清刚之姿。淡施赭色晕染竹节，衬于古旧绢底，愈见沉雅古拙。\n几只山雀或栖于梢头理羽，或穿林跃动，翎毛晕染细腻灵动，为幽寂竹林添了鲜活生气。动静相映之间，将写实工细与文人意趣相融，既有院体花鸟的精工写实，又饱含萧散淡远的林下之风，把劲竹的清操与野雀的生趣合为一卷，尽显雅致隽永的笔墨意韵。",[7,4472,23,24,225,28,173,83,226,370,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],{"id":37869,"slug":37870,"title":37871,"dynasty":189,"author":278,"museum":311,"description":37872,"tags":37873,"thumbUrl":37874,"material":139,"size":139,"collection":139,"collections":37875,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},228209,"shan-shui-tu-tuan-shan-yi-ming-228209","山水图团扇","此作以远近相生的构图铺陈意境，浮空峰峦如蓬瀛仙山，浓墨点苔晕出山姿苍郁，留白云气晕染成朦胧幻境，割裂又勾连起世外幽境与人间烟火。\n\n山腰间楼阁隐现，似藏寻仙之幽；山脚处板桥行人策杖徐行，村舍林麓、陂塘田亩错落排布，枯木添就萧疏秋意。工写兼济的笔法，勾勒山石硬朗轮廓，皴擦晕染揉出温润质感，设色淡雅古拙。将出世清寂与入世恬美收于尺幅，尽显山水重意趣、尚萧散的特质，意境清和淡远，恍若隔绝尘嚣，只留一片悠然天地。",[7,23,24,1352,27,177,173,29,108,109,175,106,866,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517e2ea2760446e7c47c7392862034d2.jpg",[],{"id":37877,"slug":37878,"title":10419,"dynasty":189,"author":4785,"museum":311,"description":37879,"tags":37880,"thumbUrl":37881,"material":2164,"size":2165,"collection":139,"collections":37882,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},228070,"feng-zhu-tu-xue-chuang-228070","僧普明，字雪窗。元代著名画家，在苏州为僧。1338年在虎丘云岩寺当住持，1344年改承天能仁寺住持，其后一度因老病引退，1348年复出，为能仁寺住持。\n雪窗以画兰花著称，与他同时的画家柏子庭写苏州风俗说：家家恕斋字，户户雪窗兰。春来行乐处，只说虎丘山。今传世作品十余件，多藏于日本，美国。",[7,23,24,225,173,226,385,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb8ad77edfd7868a2b0caa6e47ad30f.jpg",[],{"id":37884,"slug":37885,"title":37886,"dynasty":18,"author":278,"museum":311,"description":37887,"tags":37888,"thumbUrl":37890,"material":139,"size":139,"collection":139,"collections":37891,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},227917,"qun-yu-xi-zao-tu-yi-ming-227917","群鱼戏藻图","《宋人画群鱼戏藻图》是宋代佚名创作的绢本设色画。\n《庄子·秋水篇》中有“濠梁观鱼”的著名典故，故“ ”成为中国绘画的传统题材。\n“ ”又谐“余”之音，有祝颂丰穰之吉祥寓意。\n本幅无款。\n鉴藏印钤“季彤平生真赏”、“庞莱臣珍藏宋元真迹”。\n裱边钤“虚斋审定名迹”。\n图中绘小鱼5尾，欢快地游戏于荇藻之间。\n鱼身用没骨法墨染而成，其光滑、细腻而富于弹性的质感表现得非常充分，线条圆浑流畅；黑脊与白肚之间过渡自然；口、眼、鳍、尾之刻画逼真而具立体感。\n鱼的游向各异，远近分明，荇藻轻灵而富于动感，构图生动活泼，是宋人画鱼的名作。\n存《名笔集胜》册中。\n《虚斋名画续录》著录。",[7,209,23,24,1352,28,173,27,783,37889],"藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg",[],{"id":37893,"slug":37894,"title":37895,"dynasty":18,"author":5270,"museum":311,"description":37896,"tags":37897,"thumbUrl":37898,"material":2164,"size":2165,"collection":139,"collections":37899,"showCount":904,"zanCount":2209,"manualWeight":48,"mainColor":94},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[7,209,23,24,25,244,27,86,106,29,34,35,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":37901,"slug":37902,"title":28206,"dynasty":18,"author":1395,"museum":311,"description":32808,"tags":37903,"thumbUrl":37905,"material":139,"size":139,"collection":139,"collections":37906,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},227770,"dai-du-tu-ye-li-tang-227770",[7,23,209,27,177,29,174,106,866,176,37904,29926,34,966,37],"渡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg",[],{"id":37908,"slug":37909,"title":37910,"dynasty":18,"author":1395,"museum":311,"description":32808,"tags":37911,"thumbUrl":37912,"material":139,"size":139,"collection":139,"collections":37913,"showCount":904,"zanCount":2209,"manualWeight":48,"mainColor":49},227768,"shan-shui-ye-li-tang-227768","山水页",[7,23,24,209,173,177,4850,29,107,174,34,176,4064,111,114,1265,10431,26180,865,1266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":37915,"slug":37916,"title":37917,"dynasty":18,"author":30686,"museum":311,"description":37918,"tags":37919,"thumbUrl":37920,"material":139,"size":139,"collection":139,"collections":37921,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},227751,"yu-tu-tu-ye-gong-ji-227751","玉兔图页","兔子在民间象征着吉祥、智慧和谨慎，“玉兔呈祥”之说一直深入人心。“ 玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[7,209,23,24,4850,28,27,2234,808,1423,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":37923,"slug":37924,"title":37925,"dynasty":18,"author":708,"museum":311,"description":10109,"tags":37926,"thumbUrl":37927,"material":139,"size":139,"collection":139,"collections":37928,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图",[7,23,209,24,1352,27,106,2607,151,384,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[],{"id":37930,"slug":37931,"title":37932,"dynasty":18,"author":37933,"museum":311,"description":37934,"tags":37935,"thumbUrl":37936,"material":139,"size":139,"collection":139,"collections":37937,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},227708,"mei-hua-shi-yi-tu-chang-juan-wang-yan-sou-227708","梅花诗意图（长卷）","王岩叟","《梅花诗意图》是南宋朝时期画家岩叟所作，现藏于弗利尔美术馆。\n\n图中画盛开的梅花，树干上墨书有岩叟”二字，应是作者的名或号。从画风上看，不似北宋，或为南末后期至元初之作。\n\n以北宋王岩叟为作者，不足为信。此图运笔道劲有力，构图疏密有致，枝条穿插，富有韵味，具扬补之遗法，为补之传派中上乘之作。\n\n岩叟，生卒年不详，即北宋王岩叟。字彦霖，《宋史》有传，未称其擅画，或为画家之号。南宋宋伯仁，号雪岩，擅画梅叟或即宋伯仁自号，待考。",[7,209,23,24,25,173,402,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9933a60aeb10151b1d452b59e5b1ccc4.jpg",[],{"id":37939,"slug":37940,"title":19444,"dynasty":18,"author":2389,"museum":311,"description":37941,"tags":37942,"thumbUrl":37943,"material":139,"size":139,"collection":139,"collections":37944,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},227700,"shui-xian-tu-zhao-meng-jian-227700","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[7,23,24,25,244,173,27,86,178,263,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":37946,"slug":37947,"title":37948,"dynasty":18,"author":278,"museum":311,"description":37949,"tags":37950,"thumbUrl":37951,"material":139,"size":139,"collection":139,"collections":37952,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[7,23,25,27,28,244,86,263,106,59,13899,1755,29,34,109,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],{"id":37954,"slug":37955,"title":37956,"dynasty":76,"author":21699,"museum":311,"description":34680,"tags":37957,"thumbUrl":37958,"material":139,"size":139,"collection":139,"collections":37959,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},226631,"si-shi-shan-shui-04-pu-ru-226631","四时山水04",[7,23,173,177,29,176,282,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e67a5159c09f40a77dc77e0824644f.jpg",[],{"id":37961,"slug":37962,"title":37963,"dynasty":76,"author":12256,"museum":311,"description":37964,"tags":37965,"thumbUrl":37966,"material":139,"size":139,"collection":139,"collections":37967,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":49},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[7,23,104,27,28,29,107,34,176,37,115,13000,111,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],{"id":37969,"slug":37970,"title":37971,"dynasty":76,"author":963,"museum":9959,"description":1688,"tags":37972,"thumbUrl":37973,"material":1411,"size":37974,"collection":139,"collections":37975,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},224522,"shan-shui-tu-ce-8-kai-7-zhang-da-qian-jiu-cang-shi-tao-224522","山水图册8开-7-张大千旧藏",[7,23,173,177,81,29,229,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38185d388bd2aef7f301241ae98f8694.jpg","14.9x27.3cm",[],{"id":37977,"slug":37978,"title":37979,"dynasty":76,"author":963,"museum":311,"description":37980,"tags":37981,"thumbUrl":37982,"material":139,"size":139,"collection":139,"collections":37983,"showCount":904,"zanCount":1337,"manualWeight":48,"mainColor":94},224515,"shan-shui-tu-ce-8-kai-4-shi-tao-224515","山水图册8开-4","淡墨晕染出山峦肌理，远山隐在烟岚之中，如笼轻绡。左崖飞瀑垂落，为静寂山林注入灵动生机。坡上苍松错落虬劲，撑起山野清寂风骨，茅舍静立平坡，素朴安然，似藏幽人栖居之趣。\n\n此作用干淡笔墨皴擦山体，湿墨点染松针，简淡见苍润。留白烘衬出空濛云烟，寥寥数笔铺陈开林泉幽寂，笔意松秀清脱，尽显萧散淡远的林下意趣，观之便如踏入幽僻山居，尘俗烟火尽涤。",[7,23,173,27,81,177,29,734,466,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、《 》、《孔侍中帖》、 、《适得书帖》、《疖肿帖》、《 》、《中秋帖》等。\n所著《中国行草名帖一百讲》对 的《适得书帖》，张旭的《古诗四帖》等名家名作都有扎实透彻的解读。\n全书遴选古帖名作1篇，对蕴含在作品中的意象，韵律，节奏，情绪展开了深入的美学探讨；并对作品的结构，章法，线条甚至留白都有独到的分析并全面阐释作品的精神内涵与作品特色。\n朱以撒，195年出生，福建泉州人。\n现为 教授、博士生导师， 副主席，中国书法家协会学术委员会委员， 会员。\n长期从事书法教学、创作及理论研究工作，出版书法论著及散文集多部，29年被评为“中国书坛十大年度人物”。\n汉 《居延误死马驹册》 汉 《永元兵器册》 索靖 《出师颂》 陆机 《平复帖》 王羲之 《兰亭序》 王羲之 《孔侍中帖》 王羲之 《丧乱帖》 王羲之 《适得书帖》 王荟 《疖肿帖》 王徽之 《新月帖》 王献之 《廿九日帖》 王献之 《中秋帖》 王献之 《鸭头丸帖》 王献之 《东山I阽》 王殉 《伯远帖》 王慈 《翁尊体安帖》 王志 《一日无申帖》 智永 《草书千字文》 隋人 《出师颂》 欧阳询 《仲尼梦奠帖》 欧阳询 《张翰思鲈帖》 虞世南 《汝南公主墓志铭》 陆柬之 《文赋》 李世民 《温泉铭》 唐 《赵丑胡贷练契》 武则天 《升仙太子碑》 高正臣 《明征君碑》 孙过庭 《书谱》 怀仁 《集王羲之书三藏圣教序》 唐 《康才艺牒》 唐 《杨大智租田契》 唐 《功德文簿》 李邕 《李思训碑》 李隆基 《鹊钨颂》 张旭 《古诗四帖》 李白 《上阳台帖》 李怀琳 《绝交书》 贺知章 《孝经》 颜真卿 《祭侄文稿》 颜真卿 《瀛州帖》 颜真卿 《裴将军诗》 徐浩 《朱巨川告身》 林藻 《马斋帖》 怀素 《自叙帖》 怀素 《论书帖》 柳公权 《蒙诏帖》 高闲 《千字文残卷》 杜牧 《张好好诗并序》 李煜 《入其国帖》 杨凝式 《神仙起居法》 杨凝式 《韭花帖》 杨凝式 《 》 李建中 《土母帖》 蔡襄 《去德帖》 苏轼 《黄州寒食诗》 苏轼 《一夜帖》 黄庭坚 《刘梦得竹枝九篇》 黄庭坚 《赠张大同卷跋尾》 米芾 《蜀素帖》 米芾 《真庥帖》 赵佶 《草书千字文》 薛绍彭 《上清连年帖》 吴琚 《观唐李氏谱牒》 赵构 《行草千字文》 陆游 《致原伯知府判院》 赵眘 《法书赞》 朱熹 《述庐陵秋谷残卷》 范成大 《 》 赵孟叛 《洛神赋》 赵孟頫 《致季宗源二札卷》 赵孟頫 《行书三段卷》 鲜于枢 《苏轼海棠诗》 吴镇 《题松泉图诗》 张雨 《自书诗册》 康里恫巎巎 《述笔法》 杨维桢 《张氏通波阡表》 宋克 《急就章》 祝允明 《济阳登太白酒楼却寄施湖州》 文徵明 《乐志论》 唐寅 《七律四首卷》 蔡羽 《书说》 王宠 《瞻眺诗》 王宠 《访王元肃虞不值诗卷》 徐渭 《青天歌卷》 邢慈静 《自书诗册》 董其昌 《宋词册》 张瑞图 《邓公聪马行》 黄道周 《山中杂咏》 王铎 《诗翰四首》 倪元璐 《草书信札》 陈洪绶 《两日帖》 傅山 《丹枫阁记》 查士标 《诗文册》 金农 《行书尺牍》 黄慎 《五言诗卷》 郑燮 《七言诗卷》 刘墉 《米芾诗轴》 王文治 《剪水山房诗序》 何绍基 《临王羲之兰亭序》 赵之谦 《忆昔从军诗》 附录：《行草书欣赏论》 后记",[7,86,2570,25,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68492318509a690999cf7fc20f2abb.jpg","高24.5公分，长84公分",[328],{"id":38117,"slug":38118,"title":38119,"dynasty":99,"author":2146,"museum":56,"description":38120,"tags":38121,"thumbUrl":38122,"material":139,"size":38123,"collection":139,"collections":38124,"showCount":904,"zanCount":2209,"manualWeight":48,"mainColor":49},222358,"luo-hua-shi-ce-tang-yin-222358","落花诗册","《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 [1] [1]唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n落花诗墨迹的各个版本唐寅一生曾多次书写落花诗，每次所录诗作的数量不同，内容不同，书法风格也不尽相同。目前所知的有以下几个版本：\n就目前所见的唐寅落花诗真迹有四本：即苏州市博物馆藏本、普林斯顿大学附属美术馆藏本、辽宁省博物馆藏本和中国美术馆藏本。见于著录的唐寅书落花诗则有《蔬香馆法帖》、《海山仙馆藏真三刻》、《珊瑚网》等多种。",[7,209,86,178,622,24,81,173,18197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa11f9f927e26e7749c62c6b71ab76d0.jpg","纵二十三点五厘米，横四百四十五厘米",[],{"id":38126,"slug":38127,"title":38128,"dynasty":99,"author":3908,"museum":206,"description":23306,"tags":38129,"thumbUrl":38130,"material":1271,"size":38131,"collection":90,"collections":38132,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},222177,"hua-xi-yu-yin-zhou-lu-zhi-222177","花谿渔隐轴",[7,23,24,225,27,29,108,109,174,865,176,466,266,175,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27346d2b1c70fea305cfb7ed193a52f4.jpg","239.6x53.3",[90,45],{"id":38134,"slug":38135,"title":38136,"dynasty":99,"author":170,"museum":206,"description":38137,"tags":38138,"thumbUrl":38139,"material":38140,"size":38141,"collection":90,"collections":38142,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},222124,"zhi-shi-tu-shen-zhou-222124","芝石图","此作未署年款，画芝石笔墨肥润，其书法及款印，与画秋葵相近，似为同年作品。题识：“烨烨神芝，钤冈之。九英挺秀，五色纷披。兆厥祥，杰阁宏基。宸翰辉赫，日丽星义。表以延恩，汪无涯。奕叶朱房，灵光永绥。”钤印：“石田”“日夕堂”。",[7,23,24,209,1352,173,27,9249,385,928,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14977f5430a499d1e4b5206e785058b3.jpg","泥金，纸本，设色","纵18.1厘米，横52.4 厘米",[90,45],{"id":38144,"slug":38145,"title":38146,"dynasty":99,"author":817,"museum":206,"description":38147,"tags":38148,"thumbUrl":38149,"material":712,"size":38150,"collection":139,"collections":38151,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},222008,"cha-shi-tu-zhou-wen-zheng-ming-222008","茶事图轴","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏·茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。\n本幅上方自题“茶具十咏”五言律诗十首，分别为茶坞、茶人、茶笋、茶籝、茶舍、茶灶、茶焙、茶鼎、茶瓯、煮茶。后款署：“嘉靖十三年岁在甲午，谷雨前三日，天池、虎丘茶事最盛，余方抱疾偃息一室，弗能往与好事者同为品试之会。佳友念我走惠二三种，乃汲泉吹火烹啜之，辄自第其高下，以适其幽闲之趣。偶忆唐贤皮陆辈‘茶具十咏’，因追次焉，非敢窃附于二贤后，聊以寄一时之兴耳。漫为小图，遂录其上。衡山文徵明识。”钤“徵”“明”朱方联珠印。嘉靖十三年即1534年，文徵明时年65岁。右下钤“徵仲父印”白文方印、“衡山”朱文方印。",[7,23,27,86,29,734,282,384,3631,173,400,225,699,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","纵136.1cm，横26.8cm",[],{"id":38153,"slug":38154,"title":38155,"dynasty":189,"author":3051,"museum":9826,"description":38156,"tags":38157,"thumbUrl":38158,"material":40,"size":38159,"collection":139,"collections":38160,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},221716,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-221716","萧翼智赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。 现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。 该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。 徐邦达先生认为辽博、台北故宫藏本大致全是宋人临本，北京故宫藏本衣纹带方折而多顿挫，为南宋人作无疑。北京故宫藏本前后旧绢隔水钤“南师中印”、“伯谦精鉴”、“龙有鉴赏”等收藏印五方，尾纸附旧拓《兰亭序》帖，帖后有南宋王厚之，元王蒙、张翥题跋，三人题跋中均未谈及图画，该帖钤有收藏印二十九方。",[7,23,24,25,27,28,106,228,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8090c7e77955e254b3f443be55f54090.jpg","纵26.6cm，横44.3cm",[],{"id":38162,"slug":38163,"title":38164,"dynasty":18,"author":2297,"museum":206,"description":38165,"tags":38166,"thumbUrl":38171,"material":573,"size":38172,"collection":139,"collections":38173,"showCount":904,"zanCount":2209,"manualWeight":48,"mainColor":94},221590,"qiu-hui-cao-chong-tu-li-di-221590","秋卉草虫图","此画左下方斜出数茎花草，相互掩映。一叶梢上栖息着一只螳螂，回首张望，高举双臂，似是盯着正在飞舞捕食的金龟。螳螂自腰部至头部弯转，其弧度与金龟外壳圆缓的轮廓线、草木花叶的线条都甚利落。其最精彩的部分应属精细的敷色，顺着叶片弧度，用石绿叠出深浅及细细叶脉。石青点染的鸭跖草，及天青色花瓣，虽色已剥落，仍有透薄之感。花间用白粉描绘小花头，螳螂上半部因敷白粉，突出了甲壳的平滑立体，其前臂更是富于变化，虽只勾勒出轮廓，但黄褐、淡黄、橄榄绿等色叠变，显示出更细致的部位变化，其金色的龟壳以金粉钩染，斑纹历历在目。",[7,23,24,81,27,28,83,511,20303,940,84,284,38167,4689,14249,4688,737,38168,8725,5535,386,38169,38170],"虫类","细笔","小生灵","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fa271539c516bc1fca226558e483c4.jpg","25.2x26.1厘米",[],{"id":38175,"slug":38176,"title":38177,"dynasty":18,"author":5270,"museum":20,"description":38178,"tags":38179,"thumbUrl":38182,"material":40,"size":38183,"collection":139,"collections":38184,"showCount":904,"zanCount":2209,"manualWeight":48,"mainColor":94},221452,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-quan-juan-ma-he-zhi-221452","诗经·小雅·节南山之什全卷","《诗经·小雅·节南山之什图》卷，南宋，传为马和之作，绢本，设色，纵26.2厘米，横857.6厘米。\n此卷取《诗经·小雅》中《节南山》等十篇之大意描绘成图，每段前书《诗经》原文，依次为《节南山》、《正月》、《十月之交》、《雨无正》、《小旻》、《小宛》、《小弁》、《巧言》、《何人斯》、《巷伯》。书画均无款印，旧传宋高宗赵构书文，马和之作画。马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教。",[7,209,23,24,25,27,2158,38180,86,38181],"兰叶描","儒家礼教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc501efc83bf8d990bb555af8f71224f8.jpg","纵26.2厘米，横857.6厘米",[],{"id":38186,"slug":38187,"title":38188,"dynasty":18,"author":38189,"museum":206,"description":38190,"tags":38191,"thumbUrl":38192,"material":699,"size":38193,"collection":328,"collections":38194,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},221364,"si-cheng-tie-chi-du-xu-xuan-221364","私诚帖尺牍","徐铉","徐铉（916-991），五代宋初文学家。字鼎臣。广陵（今江苏扬州）人。早年仕于南唐，官至吏部尚书。后随李煜归宋，官至散骑常侍,世称徐骑省。淳化二年（991）被贬谪为静难行军司马，不久就死在贬所。\n他擅长李斯小篆，也工于隶书。他与其弟徐锴是当时最杰出的篆书书法家，被称为“二徐”，他们考订了《说文解字》。此外，北宋淳化五年（994）重刻秦代《峄山刻石》，即根据徐铉的摹本。徐铉所书的篆书，映日视之，笔画中心有缕浓墨，因其笔锋直下不倒侧，故笔锋常在画中，故人也称其如“屋漏痕”、“锥画沙”。黑龙江省博物馆藏有他的《篆书千字文残卷》（宋摹本）。",[7,86,178,263,27690,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001d309fa974056d7525f4e5a98e998.jpg","29.1×44.8cm",[328],{"id":38196,"slug":38197,"title":38198,"dynasty":18,"author":323,"museum":101,"description":10972,"tags":38199,"thumbUrl":38200,"material":712,"size":10975,"collection":139,"collections":38201,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},221278,"lian-po-lin-xiang-ru-lie-zhuan-can-di-er-duan-huang-ting-jian-221278","廉颇蔺相如列传(残)第二段",[7,24,86,2570,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0b7f2742fc34b19f8a020a3c9a7761.jpg",[],{"id":38203,"slug":38204,"title":38205,"dynasty":99,"author":2494,"museum":20,"description":13058,"tags":38206,"thumbUrl":38207,"material":3713,"size":5635,"collection":139,"collections":38208,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},220913,"shan-shui-ce-7-dong-qi-chang-220913","山水册7",[7,23,24,81,173,29,177,866,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56878ebec529936616522b38f900f90f.jpg",[],{"id":38210,"slug":38211,"title":38212,"dynasty":99,"author":2494,"museum":7087,"description":38213,"tags":38214,"thumbUrl":38215,"material":81,"size":7091,"collection":139,"collections":38216,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":139},220753,"fang-ge-jia-shan-shui-3-dong-qi-chang-220753","仿各家山水-3","此作用淡墨干笔写就远近山水，远景山峦皴擦松灵，坡岸随水势蜿蜒铺展，留白作水，晕染出空蒙悠远的湖山烟意，林石隐现其间，简淡空灵。近景古木虬曲苍劲，以浓淡墨色区分枝桠枯荣，层叠错落间掩映着临水村居，板桥卧波连起汀岸，野趣盎然。\n全画笔墨秀润松脱，以留白营造出幽寂空茫的意境，将山水淡远之致与林下幽居的雅静相融，尽显平淡天真的文人意趣，于简率笔墨中蕴含静穆悠长的诗意，淡而不薄，简而不空，尽显山水悠远淡寂的林下雅境。",[7,23,24,173,177,105,29,176,34,108,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3f7e74473aa4b84bb40d391a020b7.jpg",[],{"id":38218,"slug":38219,"title":38220,"dynasty":949,"author":3807,"museum":3808,"description":38221,"tags":38222,"thumbUrl":38223,"material":139,"size":139,"collection":139,"collections":38224,"showCount":904,"zanCount":48,"manualWeight":48,"mainColor":94},220572,"jiu-fang-gao-xu-bei-hong-220572","九方皋","山野风色裹着粗粝的生机，老者静立崖边，目光越过皮毛叩问龙马的骨血，沉静神态藏着识珠的笃定。牵马汉子筋肉虬结、野性勃发，与老者的沉稳形成强烈反差。\n\n画面以笔墨塑风骨，线条凝练遒劲，糅合西画体积感与东方白描意趣。马匹神形各异，或昂首长嘶、或垂首闲食，野趣盎然。画作将伯乐识贤的典故融于田间小景，借相马喻识人，朴素场景里藏着对英才不问出身的深切期许，笔墨间满溢沉厚真挚的人文温度。",[7,23,24,27,173,244,8725,106,150,1003,34,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03f353d2c8b3af414b1b65a034610f6.jpg",[],{"id":38226,"slug":38227,"title":38228,"dynasty":76,"author":38229,"museum":3946,"description":38230,"tags":38231,"thumbUrl":382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。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[7,86,178,25,173,699,38572,734,385,2279],"铁船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1411d7dfebd52277f93e0eef00d69aa.jpg",[],{"id":38576,"slug":38577,"title":38578,"dynasty":99,"author":2146,"museum":311,"description":38579,"tags":38580,"thumbUrl":38581,"material":139,"size":139,"collection":139,"collections":38582,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[7,23,24,25,27,28,177,178,86,263,29,34,106,108,109,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":38584,"slug":38585,"title":38586,"dynasty":99,"author":100,"museum":311,"description":38587,"tags":38588,"thumbUrl":38589,"material":2164,"size":2165,"collection":139,"collections":38590,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":49},228441,"lan-ting-tu-shan-mian-chou-ying-228441","兰亭图扇面","画面中山涧溪流缓缓而下，蜿蜒成“曲水”。兰亭近溪旁。这里视野开阔，亭内一文人高士临亭边而坐，或许凝望远方，正在观赏优雅的景色；或许正在等待前方一仆童抱琴而来，然后抚琴一曲……给人留下无限的遐想。画面中部还有两孩童在溪边嬉戏，一只仙鹤正低头饮水，溪边奇石伫立、松柳掩映，形成了人与自然和谐相处、景色娴雅幽淡的佳境。",[7,1352,28,27,29,106,175,384,385,109,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aded3c25f9fd7875b0ba71f943ccab5.jpg",[],{"id":38592,"slug":38593,"title":38594,"dynasty":18,"author":2483,"museum":311,"description":38595,"tags":38596,"thumbUrl":38597,"material":139,"size":139,"collection":139,"collections":38598,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[7,209,23,24,25,173,27,29,866,3557,229,34,263,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":38600,"slug":38601,"title":38602,"dynasty":189,"author":19012,"museum":311,"description":38603,"tags":38604,"thumbUrl":38605,"material":139,"size":139,"collection":139,"collections":38606,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},228072,"teng-wang-ge-tu-ye-xia-yong-228072","滕王阁图页","此作以铁线白描界画楼宇，依山临江的名楼层叠错落，飞檐翘角、榫卯结构皆毫厘毕现，廊庑间人物往来顾盼，鲜活灵动，将楼阁巍峨工致描摹入微。\n\n江面上扁舟随波浮沉，远山澹澹晕开，简淡山水与精工楼宇相映，在尺幅之中铺展出宏阔雅致的胜景。整幅工细却不板滞，白描线条劲挺匀净，既复刻出名楼的壮伟形制，又晕染出江南水畔的清灵意韵，将登临名楼的雅致意趣凝于方寸之间，尽显界画的极致工巧，藏着对江南胜景的隽永追慕。",[7,23,209,104,81,244,173,107,29,174,384,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a4378908f12da247e608b1311e041d.jpg",[],{"id":38608,"slug":38609,"title":38610,"dynasty":18,"author":38611,"museum":311,"description":38612,"tags":38613,"thumbUrl":38614,"material":139,"size":139,"collection":139,"collections":38615,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},228030,"wei-sheng-huang-hun-tu-zhao-da-heng-228030","薇省黄昏图","赵大亨","暮色漫过深宅庭院，丹红与素白的花影缀在枝桠，晕开柔暖朦胧的晚意。敞轩之内，一人斜卧假寐，将白日倦怠揉进黄昏里。屋宇木构刻画清雅工细，层叠的瓦檐晕染出松弛闲散的日常氛围。远景青绿山影轻笼在烟岚里，与院内花木相映，将宅邸晕成一方避世的静谧天地。\n\n整幅设色温雅柔润，工细笔意里带着写意的松弛，把黄昏庭院慵懒闲散的氛围感烘托至极，将宋人的闲雅私居之美定格，尽显慢煮时光的雅致意趣，晕开淡淡的温柔余韵。",[7,23,1352,27,104,4970,34,29,3620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180cc436741e61cb1c56a0bdb9f2ef67.jpg",[],{"id":38617,"slug":38618,"title":38619,"dynasty":18,"author":5793,"museum":311,"description":38620,"tags":38621,"thumbUrl":38622,"material":139,"size":139,"collection":139,"collections":38623,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":49},227981,"qiu-lu-fei-wu-tu-liang-kai-227981","秋芦飞鹜图","此作以简逸水墨绘就秋江野景。坡岸以浓淡墨晕染而出，苍朴浑拙，几丛芦草只以数笔挥写，便将秋风中欹侧摇曳之态尽现，萧瑟秋意扑面而来。\n\n四只飞鹜分作两组，淡墨轻勾身形，羽翼翩然灵动，破空掠飞于空茫江面。画面大片留白化作寒烟秋水，虚远空寂，与极简的物象相映成趣，以少胜多，将秋江荒寒澄澈的意境渲染到极致。笔意纵逸简淡，于萧索之中暗蕴灵动生机，寥寥数笔勾勒出秋日江天的澹泊野趣，尽显写意花鸟画的空灵悠远。",[7,209,23,24,2042,173,400,3899,266,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c37f9fecfb7b19133333a2cd8c3399.jpg",[],{"id":38625,"slug":38626,"title":38627,"dynasty":18,"author":1699,"museum":311,"description":38628,"tags":38629,"thumbUrl":38630,"material":139,"size":139,"collection":139,"collections":38631,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},227776,"xie-ke-fang-you-tu-ye-liu-song-nian-227776","携客访友图页","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[7,23,27,28,106,175,226,34,29,177,37665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92709672d881dd58bce216d07ed75c8f.jpg",[],{"id":38633,"slug":38634,"title":38635,"dynasty":18,"author":23107,"museum":311,"description":38636,"tags":38637,"thumbUrl":38638,"material":139,"size":139,"collection":139,"collections":38639,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},227758,"qiu-ye-mu-niu-tu-yan-ci-ping-227758","秋野牧牛图","《秋野牧牛图》是画家阎次平所创作的一幅画，现藏于泉屋博古馆藏。\n\n《秋野牧牛图》描绘了真实生动的乡间生活情景。图中画二牧童和三牛。二牧童并坐于树下，安闲自若，一位似在给另一位捉虱子；一头大牛卧于树下，一小牛依卧母牛身旁，母牛伸过头来给小牛捉蝨子，另一牛向外奔去，自得其乐。树叶染红，杂以黄色，岸坡和远山则以淡墨轻抹勾勒。充满诗意，牛和牧童的刻画更体现出画家的细微观察力。\n\n阎次平 南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水、人物，尤工画牛，颇为生动。画法近李唐。存世作品有《牧牛图》等。弟次于，亦善画。",[7,23,173,27,28,177,29,384,151,8925,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0571f2ca0a021ab1e67ffbdcbdde86ef.jpg",[],{"id":38641,"slug":38642,"title":38643,"dynasty":18,"author":38334,"museum":206,"description":38644,"tags":38645,"thumbUrl":38646,"material":712,"size":38647,"collection":139,"collections":38648,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[7,23,209,24,25,244,106,59,115,34,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg","纵27.1厘米，横266.4厘米",[],{"id":38650,"slug":38651,"title":38652,"dynasty":18,"author":9978,"museum":311,"description":38653,"tags":38654,"thumbUrl":38655,"material":139,"size":139,"collection":139,"collections":38656,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":49},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[7,209,23,24,81,27,177,2607,108,229,266,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],{"id":38658,"slug":38659,"title":38660,"dynasty":18,"author":3884,"museum":311,"description":38661,"tags":38662,"thumbUrl":38663,"material":139,"size":139,"collection":139,"collections":38664,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},227596,"lu-yan-tu-ye-cui-bai-227596","芦雁图页","崔白（公元11世纪）〔北宋〕约活动在1023-1085（宋仁宗至神宗时期），字子西，濠梁（今安徽凤阳东）人，生卒年不详。1068-1077（熙宁）初补图画院艺学，后升待诏。工画花竹翎毛，尤长秋荷凫雁，对佛道、鬼神、山林、人物、走兽等，亦无不精绝。思路敏捷，技巧熟练，挥毫立就，不打草稿不假直尺界笔，“曲直方圆，皆中尺度”。",[7,23,209,24,81,27,28,83,3899,3898,4272,2310,3711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc580b3f4d0ac734fa06327447d804e1d.jpg",[],{"id":38666,"slug":38667,"title":38668,"dynasty":18,"author":38669,"museum":311,"description":38670,"tags":38671,"thumbUrl":38672,"material":139,"size":139,"collection":139,"collections":38673,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},227395,"guan-yin-xiang-wang-hong-xun-227395","观音像","汪鸿薰","暂无描述",[7,23,24,243,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f2ec3b61dd5166a64dfebc275647beb.jpg",[],{"id":38675,"slug":38676,"title":38677,"dynasty":1483,"author":5503,"museum":1098,"description":38678,"tags":38679,"thumbUrl":38680,"material":139,"size":139,"collection":139,"collections":38681,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},227047,"bao-mu-tie-wang-xian-zhi-227047","保母帖","王献之《保母帖》，清宫旧藏，流散后，本帖和部分题跋存弗利尔美术馆（赵子昂、郭天锡、董其昌、徐守和等），大部分题跋存故宫博物院（姜夔、赵子昂、周密、仇远、鲜于枢等）。",[7,86,178,620,25,263,622,1647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614954f526555092c1e1af4e18e4ebab.jpg",[],{"id":38683,"slug":38684,"title":38685,"dynasty":76,"author":21699,"museum":311,"description":34680,"tags":38686,"thumbUrl":38687,"material":139,"size":139,"collection":139,"collections":38688,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},226630,"si-shi-shan-shui-03-pu-ru-226630","四时山水03",[7,23,24,173,177,81,29,106,176,34,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a54730262b673b5e2e522748b6b7275.jpg",[],{"id":38690,"slug":38691,"title":38692,"dynasty":76,"author":963,"museum":311,"description":38693,"tags":38694,"thumbUrl":38695,"material":139,"size":139,"collection":139,"collections":38696,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[7,23,24,25,173,406,226,229,86,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":38698,"slug":38699,"title":38700,"dynasty":76,"author":963,"museum":311,"description":38701,"tags":38702,"thumbUrl":38703,"material":139,"size":139,"collection":139,"collections":38704,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[7,23,24,81,173,27,29,174,109,557,34,11269,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":38706,"slug":38707,"title":38708,"dynasty":76,"author":1215,"museum":311,"description":38709,"tags":38710,"thumbUrl":38711,"material":139,"size":139,"collection":139,"collections":38712,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[7,23,24,25,7062,27,177,178,263,29,108,109,175,866,176,34,468,557,1269,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":38714,"slug":38715,"title":38716,"dynasty":76,"author":1215,"museum":311,"description":38717,"tags":38718,"thumbUrl":38719,"material":139,"size":139,"collection":139,"collections":38720,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":49},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 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唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[7,939,86,178,25,173,263,285,3620,29,174,108,109,175,266,1423,866,402,406,226,407,227,369,264,405,783,9575,3020,1775,2279,19073,3022,18917,38833,30910,38834],"夏","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纵23.3厘米，横551.3厘米",[328],{"id":38839,"slug":38840,"title":38841,"dynasty":99,"author":100,"museum":206,"description":38842,"tags":38843,"thumbUrl":38851,"material":88,"size":38852,"collection":181,"collections":38853,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},222205,"jiao-yin-jie-xia-zhou-chou-ying-222205","蕉阴结夏轴","图中山石林立，蕉丰硕。秀竹劲，丛草稀。两位高士对坐相。一抚琴，一聆听。作品追宋法，人物造型准确。神情刻画栩栩如生，加之情景交融，画面文人同生活气息流。村庄突现萧疏简返之气，亦现作者师元人画风而别开生面之趣",[7,23,24,225,28,27,106,806,4272,176,210,115,38844,38845,5187,38846,38847,31257,38848,36270,38849,38850,38080],"夏日场景","弹拨乐器","山石皴法","植物写生","设色淡雅","传统山水元素","草木景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b091a6fd7758ede327c5d564e95b22.jpg","纵279.1厘米，横99厘米",[181,45],{"id":38855,"slug":38856,"title":38857,"dynasty":99,"author":5391,"museum":206,"description":38858,"tags":38859,"thumbUrl":38860,"material":409,"size":38861,"collection":181,"collections":38862,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":94},222182,"qing-bai-xuan-tu-zhou-liu-jue-222182","清白轩图轴","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。\n刘珏[jué]为官清正，浙江甫田县丞督赋侵吞渔税，被告以“黄金二百两”委托亲戚向他行贿，他正愁缺少证据，便以此为突破口，查明了赋税被侵吞的真相。无锡有个贪官因受贿事发，托人送来500两银子，求他去向办案人说情。刘珏严拒，并对来人说：“不亟去，当讯之于官！”\n刘廷美为刑部主事居京师，与徐武功、刘原博诸公为诗友，每相过，必谈论达旦。尝岁除，原博邀之守岁，廷美因挟所藏钟馗画像求题，原博遂援笔大书一诗于上。明旦持归，县之中堂。京师每正旦，主人皆出贺，惟置白纸簿并笔研于几，贺客至，书其名，无迎送也。是日朝罢，刘定之、黄廷臣两学士首至，见此诗，各摘簿一叶录之去。朝士继至者，皆摘录之。顷间，簿已尽矣。廷美晚回，索簿阅贺客以图往报，家人告其故。明日，复置一簿，亦如之。中书舍人金本清戏谓廷美曰：“此钟馗乃耗纸鬼也。”一时京师传为奇事。原博诗曰：“长空糊云夜风起，不忿成群跳狂鬼。倒提三尺黄河水，血洒莲花舞秋水。飞萤负火明月羞，栎窠影黑啼鸺枭。绿袍乌帽逞行事，磔脑刳肠天亦愁。中有巨妖诛未得，盍驾飙轮驱霹雳。如何袖手便忘机，回首东方又生白。”\n刘完庵薄于仕宦，年五十遂解组，时有宪臣索题《牧牛图》，为赋诗曰：“牧子驱牛去若飞，免教风雨湿蓑衣。回头笑指桃林外，多少牧牛人未归。”宪臣亦感泣挂冠去。\n成化初，琼台邢公宥为苏守，以梅华求题，廷美赋绝句云：“岁寒相见在天涯，玉色珠光带露华。笑杀玄都狂道士，种桃何不种梅华？”邢公得诗甚喜。后邢公以郡中久荒，陂荡起税，民心颇怨，有投诗刺之者曰：“量尽山田与水田，只留沧海与青天。渔舟若过间洲渚，为报沙鸥莫浪眠。”邢公闻之，以为廷美所作，衔之。或劝往白，廷美曰：“彼奈我何？”后廷美卒，邢公吊祭皆不往，人多非之。",[7,23,225,173,177,29,175,108,109,34,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931c328fef461048547689cfaea32c14.jpg","纵92.7厘米横35.4厘米",[181],{"id":38864,"slug":38865,"title":38866,"dynasty":18,"author":29044,"museum":20,"description":38867,"tags":38868,"thumbUrl":38869,"material":37282,"size":38870,"collection":139,"collections":38871,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":94},222141,"mu-dan-chun-man-tu-ye-li-cong-xun-222141","牡丹春满图页","[宋]杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[7,209,23,24,4850,1352,28,27,3567,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06010232ff025bf2c27d45e222f744ca.jpg","纵26.9厘米、横46",[],{"id":38873,"slug":38874,"title":38875,"dynasty":99,"author":170,"museum":206,"description":2203,"tags":38876,"thumbUrl":38878,"material":527,"size":38879,"collection":139,"collections":38880,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓",[7,23,24,173,27,178,2352,29,1322,108,175,4208,38877,106,2790],"浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ebf57ec710cf7b3feb2eb738b90919.jpg","28x43.5厘米",[],{"id":38882,"slug":38883,"title":38884,"dynasty":99,"author":20615,"museum":20,"description":38885,"tags":38886,"thumbUrl":38887,"material":841,"size":38888,"collection":139,"collections":38889,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},222081,"yi-tuan-he-qi-tu-li-zhou-zhu-jian-shen-222081","一团和气图立轴","此图作于1465年。粗看似一笑面弥勒盘腿而坐，体态浑圆，细看却是三人合一。左为一着道冠的老者，右为一戴方巾的儒士，二人各执经卷一端，团膝相接，相对微笑，第三人则手搭两人肩上，露出光光的头顶，手捻佛珠，是佛教中人。作品构思绝妙，人物造型诙谐，用图像的形式揭示了儒、释、道“三教合一”的主题思想。\n作品线条细劲流畅，顿挫自如，显示出作者纯熟的绘画技艺。",[7,23,24,225,27,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0757d39ae29ad50e272852e0bd8a3181.jpg","48.7x36",[],{"id":38891,"slug":38892,"title":38893,"dynasty":99,"author":10306,"museum":20,"description":38894,"tags":38895,"thumbUrl":38896,"material":527,"size":31195,"collection":181,"collections":38897,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":255},222074,"da-mo-tu-zhou-wu-bin-222074","达摩图轴","图绘中国禅宗初祖达摩面壁参禅的故事。图中达摩须发茂密，头顶有肉髻，耳垂较长，具梵僧的面相特征，但眉目、鼻梁又非西域人的深目高鼻，而是融合了汉人的特点。达摩身着红衣袈裟，袒右胸，结跏趺坐于蒲团上。达摩的面目刻画细致，袈裟衣纹用笔朴拙粗重，融入了战笔和钉头鼠尾描的笔意。布景简洁，达摩身后斜立一巨石，山石轮廓用淡墨轻勾，注重以水墨晕染表现山石的质感，墨色深重沉寂，与达摩面壁参禅的意境相融。\n本幅右下画家自题：“枝隐头陀吴彬斋心拜写。”下钤“吴彬之印”朱文、“吴文中氏”白文二印。左下角有“谢”朱文、“阿閦鞞室供养”朱文收藏印。\n唐代禅宗兴盛以来，禅宗六祖成为文人、职业画家中流行的题材，其中尤以表现达摩面壁、渡江的题材最为流行。从该图右下“枝隐头陀吴彬斋心拜写”的款识和左下角“阿閦鞞室供养”的收藏印来看，这应该是一幅有着实际宗教功能的作品。辽宁省博物馆所藏戴进《达摩六祖图》后有清初曹溶题跋，他从禅宗重视心传出发劝程君吉修禅不要受图画的影响，认为“于无画处参，乃高人一等”，曹溶的跋亦从反面说明了当时存在的“以画参禅”的事实。",[7,23,225,243,27,106,229,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8aa2bc689c8b52664da36963765e99.jpg",[181,163],{"id":38899,"slug":38900,"title":38901,"dynasty":189,"author":14801,"museum":206,"description":38902,"tags":38903,"thumbUrl":38904,"material":27,"size":38905,"collection":181,"collections":38906,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":49},221847,"ji-xue-tu-zhou-liu-guan-dao-221847","积雪图轴","画江山积雪，山影崷崒，其上干霄。江畔一舟，冲寒远至。全图构局雄伟，用笔泼辣而迅疾，画枯木寒枝，采取郭熙蟹爪枝的表现技法，笔力雄健。此幅旧传为刘贯道作，然画风已入明际。",[7,23,1218,225,173,177,13661,176,865,107,30,35,22863,174,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 97公分",[181,163],{"id":38908,"slug":38909,"title":38910,"dynasty":189,"author":26790,"museum":20,"description":38911,"tags":38912,"thumbUrl":38915,"material":40,"size":38916,"collection":90,"collections":38917,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},221822,"ying-gui-tu-zhang-shun-zi-221822","鹰桧图","此图是由雪界翁、张师夔两位画家合作绘制而成。图绘山石间一株古桧，枝干挺劲，枯枝与新叶相映成趣。老干横斜，一只苍鹰昂首挺立其上，双目炯然，脚爪锋利，紧抓树枝，给人以坚如磐石、临危不惧之感。图中苍鹰以工笔重彩法写出，刻画细腻，笔笔精到，具有宋代院体花鸟画遗风。古桧山石完全用写意风格的画法，出自张舜咨手笔，画风略显粗犷，然颇具气势。苍鹰与山石、古桧虽出自不同人的手笔，但配合默契，毫无突兀、不协调之感，极具特色。",[7,23,209,24,225,27,28,4451,38913,9889,7803,229,38914],"桧树","丛草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f781d4069309ad9530fe25a1c35bbcd.jpg","纵147.3厘米，横96.8厘米",[90,45],{"id":38919,"slug":38920,"title":38921,"dynasty":189,"author":4469,"museum":20,"description":38922,"tags":38923,"thumbUrl":38924,"material":699,"size":38925,"collection":139,"collections":38926,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},221744,"qiu-shen-tie-guan-dao-sheng-221744","秋深帖","管道升行书秋深帖是管道升给婶婶的问安、馈赠的家信，实为赵孟頫所书。其笔力扎实，体态修长，秀媚圆活，畅朗劲健。赵氏信笔写来一时忘情，末款署了自己的名，发觉后忙又改过，还可以看出涂改之迹。",[7,209,23,24,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709a2cf3722df1bd28d60e5ffd14c32f.jpg","纵26.9cm，横53.3cm",[],{"id":38928,"slug":38929,"title":38930,"dynasty":189,"author":278,"museum":206,"description":38931,"tags":38932,"thumbUrl":38933,"material":409,"size":38934,"collection":181,"collections":38935,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":94},221700,"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[7,23,24,225,173,177,29,2279,384,385,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[181,163],{"id":38937,"slug":38938,"title":38939,"dynasty":18,"author":1699,"museum":206,"description":38940,"tags":38941,"thumbUrl":38942,"material":67,"size":38943,"collection":139,"collections":38944,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},221550,"luo-han-tu-2-liu-song-nian-221550","罗汉图2","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。",[7,23,24,225,243,28,106,229,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10737a1546d4fd6ca989ad4e2dd46ab0.jpg","纵117.2厘米，横56厘米",[],{"id":38946,"slug":38947,"title":38948,"dynasty":18,"author":461,"museum":206,"description":38949,"tags":38950,"thumbUrl":38951,"material":38952,"size":38953,"collection":139,"collections":38954,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[7,23,209,24,81,29,177,173,106,174,1542,866,109,1775,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":38956,"slug":38957,"title":38958,"dynasty":18,"author":746,"museum":20,"description":38959,"tags":38960,"thumbUrl":38961,"material":699,"size":38962,"collection":328,"collections":38963,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},221308,"xin-sui-zhan-qing-ren-lai-de-shu-tie-su-shi-221308","《新岁展庆人来得书帖》","《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[7,86,178,622,263,25,1115,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad00b3f14d230ed716a804c1d3a34fd.jpg","前帖30.2X48.8cm，后帖29.5X45.1cm",[328],{"id":38965,"slug":38966,"title":38967,"dynasty":18,"author":3584,"museum":206,"description":38968,"tags":38969,"thumbUrl":38972,"material":38973,"size":38974,"collection":139,"collections":38975,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},221200,"shu-qi-yan-lv-shi-zhao-gou-221200","书七言律诗","《宋赵构书七言律诗》是宋代时期宋高宗创作的书法作品。\n此幅墨迹是宋高宗以楷书书写 的七言律诗（即事），又名「暮春三月诗帖」。\n此一诗帖以中锋书写，通幅看来章法疏朗，字体匀称、圆润，墨色统一，令人看来赏心悦目。\n杜甫这首七律的意境如画，高宗笔墨洗鍊，二者可说是相得益彰。\n诗後原来还有元代赵孟頫为此诗作的图，可惜已被人裁去。\n高宗在绍兴三十二年（1162）晚年时退休，这段时期所作的楷书，多典雅圆融，端正停匀，有一种飘逸潇洒的趣味。\n这幅作品不仅接近这样的风格，因诗幅後还有高宗在位时的用印（御书之宝），因此推测它书写的时间应距退休时间不远。",[7,18,86,24,178,263,2547,699,38970,24774,38971],"汉字","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm",[],{"id":38977,"slug":38978,"title":12788,"dynasty":18,"author":12789,"museum":56,"description":12790,"tags":38979,"thumbUrl":38980,"material":3071,"size":12793,"collection":139,"collections":38981,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},221198,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221198",[7,86,178,25,173,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd86e4e28de5c93a83e0f57568a97a.jpg",[],{"id":38983,"slug":38984,"title":38985,"dynasty":204,"author":14070,"museum":20,"description":14071,"tags":38986,"thumbUrl":38987,"material":14074,"size":14075,"collection":139,"collections":38988,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":49},221166,"su-pin-tuo-zun-zhe-tang-ka-bu-ben-guan-xiu-221166","苏频陀尊者（唐卡布本）",[7,209,23,243,106,27,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ac0315d202a1ddbee4d784ab104d71.jpg",[],{"id":38990,"slug":38991,"title":38992,"dynasty":99,"author":2494,"museum":20,"description":13058,"tags":38993,"thumbUrl":38994,"material":3713,"size":5635,"collection":139,"collections":38995,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},220911,"shan-shui-ce-5-dong-qi-chang-220911","山水册5",[7,209,23,173,177,81,29,108,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a4d51b4537b87d26db812e65f4def5.jpg",[],{"id":38997,"slug":38998,"title":38999,"dynasty":76,"author":803,"museum":10667,"description":39000,"tags":39001,"thumbUrl":39002,"material":139,"size":139,"collection":139,"collections":39003,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},220466,"jin-gu-yuan-tu-zhou-ren-yi-220466","金谷园图轴","嶙峋湖石旁，红树浓艳跳脱，墨竹劲挺苍润，铺就雅奢的宴集底色。踞坐苔石的文士神态悠然，似已沉醉在乐音之中，两位乐伎一弹一持，将宴乐的松弛氛围缓缓晕开。画作以淡赭晕染文士衣袍，浓墨勾摹湖石奇崛肌理，冷暖色调相互映衬，层次明暗尽显巧思。笔意写意灵动，将晋人放达的林下雅韵浓缩尺幅间，把游园听曲的闲适快意，尽数铺陈于画面之中，尽显灵动雅致的画韵。",[7,23,24,225,27,106,4272,283,210,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8e71afd068129aef24338a9e0feb65.jpg",[],{"id":39005,"slug":39006,"title":39007,"dynasty":99,"author":2146,"museum":101,"description":39008,"tags":39009,"thumbUrl":39010,"material":409,"size":39011,"collection":181,"collections":39012,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[7,23,24,25,173,178,86,263,177,29,34,109,174,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[181],{"id":39014,"slug":39015,"title":39016,"dynasty":99,"author":31802,"museum":1279,"description":39017,"tags":39018,"thumbUrl":39019,"material":409,"size":39020,"collection":181,"collections":39021,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":255},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[7,23,1218,105,173,177,176,34,1087,35,37,174,109,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[181],{"id":39023,"slug":39024,"title":39025,"dynasty":99,"author":10071,"museum":1279,"description":39026,"tags":39027,"thumbUrl":39029,"material":409,"size":39030,"collection":181,"collections":39031,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":49},220026,"ce-zhang-kan-shan-tu-wei-zhi-ke-220026","策杖看山图","此作用淡墨晕染山峦，以虚实相生之法铺展烟岚幽谷，栈道隐没在空濛雾气间，恍若通连世外秘境。近景枯木虬曲苍劲，皴笔勾勒出嶙峋老干，尽显岁月沉凝。幽篁小径蜿蜒，策杖老者缓步山隅，简淡衣纹间漾出林下悠然。\n画作以清瘦秀逸的线条、浅淡设色营造萧散简远的意境，将文人寄情林泉的隐逸襟怀融在山野景致中，观之如随画中人静听松风山岚，暂忘尘嚣，尽显文人画尚意抒情的特质。",[7,23,173,225,29,177,866,108,176,4272,39028],"策杖人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe08037b225d61dec338ea640adbb3e0.jpg","132x32厘米",[181],{"id":39033,"slug":39034,"title":39035,"dynasty":18,"author":278,"museum":39036,"description":39037,"tags":39038,"thumbUrl":2648,"material":123,"size":39039,"collection":181,"collections":39040,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":49},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[7,23,25,27,1218,177,13661,734,282,865,1365,266,174,558,35,263],"纵28.8厘米，横449.3厘米",[181],{"id":39042,"slug":39043,"title":39044,"dynasty":99,"author":26038,"museum":447,"description":39045,"tags":39046,"thumbUrl":39047,"material":123,"size":39048,"collection":181,"collections":39049,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},219735,"shi-hu-mu-se-tu-sheng-mao-ye-219735","石湖暮色图","此作用淡墨晕染铺展暮色氛围感，远山轻笼烟岚，山巅浮屠隐现濛濛霭气间，将黄昏的朦胧柔焦晕染尽致。近岸林木错落，屋舍藏于深翠之中，湖畔浅滩温润柔和，空茫湖面漾着晚色静波。\n\n笔墨松秀简淡，以干湿层次区分远近虚实，把江南水畔黄昏的清寂淡远尽数铺陈。整体意境萧疏沉静，将暮色四合时的松弛空茫藏在水墨晕染里，尽显晚山归暮的温柔意韵，让观者仿若置身于这沉静的暮色湖山之间，沉醉在江南水泽的黄昏意趣中。",[7,23,27,29,177,225,734,1253,34,2310,37,27398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7485dfc0e033834ef6aef1379c333e4e.jpg","纵113.5横48厘米",[181],{"id":39051,"slug":39052,"title":39053,"dynasty":76,"author":5585,"museum":20,"description":39054,"tags":39055,"thumbUrl":39056,"material":123,"size":39057,"collection":44,"collections":39058,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},219636,"gao-feng-han-zi-hua-xiang-gao-feng-han-219636","高凤翰自画像","此画中的主人翁为作者自己。高凤翰身着白色宽服长袍，头戴斗笠，长髯垂胸，双手相合，双目凝视，侧身依石坐于断壁悬崖的石台上。其背景截取山河的一角。山石险峻陡峭，造型奇特。悬崖和山腰松柏怪生，有的矗立山腰平坡处，有的倒悬在悬崖壁，有的横卧在悬崖上，崖下为宽阔的江河、波涛澎湃。在画面左下侧江面上，陡峭巨石冲出水面，似一根巨大的石柱，巨石顶端屹立数株松柏，与对岸悬崖上的卧松遥相呼应，点缀着美好的湖光山色。在这幽雅谧静的环境中，作者正在俯视水面，突然长空中有孤鹤飞翔而来。",[7,23,27,106,29,229,1365,177,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facddc378a306e418671feb475b1a42ed.jpg","纵106厘米，横53.4厘米",[44],{"id":39060,"slug":39061,"title":39062,"dynasty":18,"author":1419,"museum":206,"description":39063,"tags":39064,"thumbUrl":39065,"material":123,"size":39066,"collection":181,"collections":39067,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},218978,"han-xiang-shi-si-tu-ma-yuan-218978","寒香诗思图","图中是两株老梅在寒冷的山沟里的栅栏外散发出香味。寒冷的月亮照耀着远处的雪山，鸟儿们迅速回到了自己的家。这幅画上有马远的签名，他不一定是他真正的笔者，但他也是马、夏画派的学生，有自己的风格和规则。",[7,23,173,27,177,4655,29,266,865,229,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1a5aed98f76264eff7c54b963801ba.jpg","25.6x25.8",[181],{"id":39069,"slug":39070,"title":39071,"dynasty":18,"author":39072,"museum":206,"description":39073,"tags":39074,"thumbUrl":39075,"material":123,"size":39076,"collection":181,"collections":39077,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},218865,"liu-feng-shui-ge-tu-zhu-guang-pu-218865","柳风水阁图","朱光普","朱光普擅长画农业场景，但这幅富贵人家的亭台楼阁画却有着不同的风格。",[7,23,24,1352,27,104,107,1322,29,557,34,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41187d0e63f2f801bb2dcdc087263985.jpg","23.1x24.5",[181],{"id":39079,"slug":39080,"title":39081,"dynasty":76,"author":582,"museum":447,"description":4491,"tags":39082,"thumbUrl":39083,"material":123,"size":4494,"collection":139,"collections":39084,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},218327,"shen-xian-gu-shi-tu-ce-9-leng-mei-218327","神仙故事图册-9",[7,23,27,28,104,81,243,106,107,266,29,34,229,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1457eaaddd10b6f13f3b0b2af97fe3.jpg",[],{"id":39086,"slug":39087,"title":39088,"dynasty":18,"author":676,"museum":311,"description":36313,"tags":39089,"thumbUrl":39090,"material":409,"size":139,"collection":139,"collections":39091,"showCount":577,"zanCount":2209,"manualWeight":48,"mainColor":94},218103,"bai-miao-ren-wu-tu-ce-7-li-gong-lin-218103","白描人物图册-7",[7,209,23,24,81,244,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9f9510faac4e5283eb2aabaa7252e1.jpg",[],{"id":39093,"slug":39094,"title":39095,"dynasty":76,"author":10000,"museum":1279,"description":10001,"tags":39096,"thumbUrl":39098,"material":88,"size":139,"collection":139,"collections":39099,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":94},216392,"za-hua-ce-2-bian-shou-min-216392","杂画册-2",[7,23,173,83,81,400,136,137,39097,314],"荷茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b66aa7186bcbd1ec727f37a8e582947.jpg",[],{"id":39101,"slug":39102,"title":39103,"dynasty":76,"author":1047,"museum":132,"description":4978,"tags":39104,"thumbUrl":39105,"material":409,"size":139,"collection":139,"collections":39106,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":4391},216355,"hua-niao-ce-3-zhu-da-216355","花鸟册-3",[7,209,23,24,173,83,266,86,263,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132cf789b8ee3ec3fcb32f156b958594.jpg",[],{"id":39108,"slug":39109,"title":39110,"dynasty":76,"author":39111,"museum":206,"description":39112,"tags":39113,"thumbUrl":39114,"material":409,"size":39115,"collection":328,"collections":39116,"showCount":577,"zanCount":48,"manualWeight":48,"mainColor":49},214719,"xing-shu-shi-da-chong-guang-214719","行书诗","笪重光","这幅画是笪重光为他人的七十岁生日写的，笔触自然，特别是黄鲁直体。",[7,315,86,178,225,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaf48b6e4dcb0aae8c599d8f8e45087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，而且理趣兼优，形神俱佳。右上有诗情画意，寓意诗：「一宿唐缘逆旅中，短词以识鸿。当时我作陶承旨，前面发红。」诗情画意，寓意静深。",[7,23,24,28,27,106,34,806,210,385,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fed0db24a4b08267971f750e5a655b5.jpg","168.8 x 102.1 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。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[7,23,225,173,177,263,29,1365,1266,176,107,109,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2360df74dde1940bb17a7183928f6ea7.jpg",[],{"id":39330,"slug":39331,"title":39332,"dynasty":99,"author":39333,"museum":311,"description":39334,"tags":39335,"thumbUrl":39336,"material":2164,"size":2165,"collection":139,"collections":39337,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},228335,"qiu-ye-jing-wu-tu-shan-mian-lu-shi-ren-228335","秋夜景物图扇面","陆士仁","字文近，号澄湖，一作承湖，长洲（今江苏苏州）人。",[7,23,1352,173,177,29,34,35,283,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c162e5283af955c7a9d2567091f6929.jpg",[],{"id":39339,"slug":39340,"title":39341,"dynasty":99,"author":3908,"museum":311,"description":39342,"tags":39343,"thumbUrl":39344,"material":139,"size":139,"collection":139,"collections":39345,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},228314,"hua-shi-tu-lu-zhi-228314","花石图","这幅作品错落铺陈花木湖石，右上角山茶花艳红似火，苍劲枝干蟠曲舒展，尽显盛放热烈。中段蜀葵柔白清雅，叶片肥润舒展，与青绿晕染的玲珑湖石相映成趣，湖石皴染细腻，通灵剔透，将花姿衬得愈发娇妍。下方萱草抽茎舒瓣，柔姿轻曳，添了幽婉闲静之致。\n\n画作工写兼施，设色明秀雅致又层次丰盈，把草木的鲜活生机与湖石的沉静古雅相融，既兼具院体花鸟的写实细腻，又饱含文人画的秀逸格调，将仲夏庭间的鲜活雅致凝于绢素，一花一叶皆可见对自然意趣的细致体察。",[7,23,209,225,27,28,229,369,404,989,84,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21574bc48e709759518e5032841160b.jpg",[],{"id":39347,"slug":39348,"title":2879,"dynasty":189,"author":4438,"museum":311,"description":39349,"tags":39350,"thumbUrl":39351,"material":139,"size":139,"collection":139,"collections":39352,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},228045,"qiu-shan-xing-lv-tu-sheng-mao-228045","此作用淡墨皴染山峦，层层铺展出秋日山林的萧疏苍润，飞泉自崖间垂落，点活了幽寂山境。坡岸松林苍劲错落，细笔勾勒枝叶，兼具挺秀与萧散之致。山径行旅人影点缀其间，衬出林山空阔辽远。\n\n画作以淡赭轻敷，晕染出秋高气清的氛围感，笔法兼得院体精工与文人雅致，将秋日山野的静谧悠远与行旅意趣相融，尺幅间铺展出声色俱寂却暗蕴生趣的山水诗境，尽显元代山水尚简淡、重意境的风神。",[7,23,24,209,29,173,177,27,734,384,109,466,467,176,263,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957c8bac516a56247b6613d7daeb6e4e.jpg",[],{"id":39354,"slug":39355,"title":39356,"dynasty":189,"author":3741,"museum":311,"description":39357,"tags":39358,"thumbUrl":39359,"material":139,"size":139,"collection":139,"collections":39360,"showCount":392,"zanCount":2209,"manualWeight":48,"mainColor":94},228031,"qian-kun-sheng-yi-tu-xie-chu-fang-228031","乾坤生意图","此卷以精工没骨绘就，秋葵、栀花与幽竹错落排布，柔枝舒展，艳而不俗。蝶蛱振翅、雀鸟掠影，纤毫毕现，将草木的温润柔态与虫禽灵动意趣刻画入微，晕染匀净古雅，满卷流动盎然生机。\n后附诸家题跋，行楷兼具，笔意隽秀疏朗，书画相映成趣，将观照小景所得的天地生机，晕染为一卷悠然鲜活的雅致长卷，尽显静雅意趣，寄寓着对自然生机的由衷赞叹。",[7,209,23,24,25,27,28,83,940,512,696,4272,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458572dbd0c2965e335e70ccb4df8943.jpg",[],{"id":39362,"slug":39363,"title":39364,"dynasty":18,"author":2297,"museum":311,"description":39365,"tags":39366,"thumbUrl":39367,"material":139,"size":139,"collection":139,"collections":39368,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},227949,"su-qin-ji-tuan-tu-li-di-227949","宿禽激湍图","《宿禽急湍图》是宋代 的中国画作品，又名《 》，创造于南宋时期，作品内容为树梢和二鸟，收藏于美国 。\n《宿禽急湍图》为册页，作品使用水墨，淡设色，图中古柏依石而生，盘根错节，溪流湍急，飞泻而下，溅起阵阵浪花。\n二鸟栖，息枝头，怡然自得，与水浪形成静与动的对比。\n此图构图形式以峭拔的树梢和二鸟打破了对角线的布势，也使画面获得了平衡感。\n树木多用颤笔描绘，线条颤动。\n虬曲的古柏枝干和急湍的小溪使画面具有强烈的动感。\n以线勾勒和水墨烘染相结合来表现浪花，手法独特。\n李迪，生卒年不详，公元12世纪期间在世， （今河南省 ）人。\n宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事孝宗、光宗、宁宗三朝(1162-1224)，活跃于宫廷 几十年，画多艺精，颇负盛名。\n工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。\n构思精妙，功力深湛，雄伟处动人心魄。\n所作《 》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。\n山水师李唐法，亦多佳作。\n论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。\n传世作品多，大多有年款。\n淳熙元年（1174年）作《风雨归牧图》轴，现藏 ；淳熙十四年（1187年）作《 》轴现藏 。\n庆元二年（1196）作《 》轴、庆元三年（1197年）《鸡雏侍饲图》册页、《猎犬图》册页，均藏故宫博物院。\n子德茂，理宗淳佑年间（1241-1252）画院待诏。\n画承家法，喜画花禽鹰鹘，野景不逮其父。\n所见李画最晚年款为庆元三年（1197年），如上溯到北宋宣和七年（1125年），需时七十三年，据此推算，则李氏存世之年龄应在九十以上。",[7,209,23,24,28,27,866,1628,109,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":39370,"slug":39371,"title":39372,"dynasty":18,"author":2297,"museum":311,"description":39373,"tags":39374,"thumbUrl":39375,"material":139,"size":139,"collection":139,"collections":39376,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},227948,"shuang-chan-tu-li-di-227948","双蟾图","画面以淡墨晕染勾勒出双蟾肌理，将其湿滑黏重的外皮质感表现得细腻传神。两只蟾蜍姿态灵动舒张，似正于草泽间探跃，将即将腾跃的瞬间定格。\n\n整幅画面清寂幽谧，简淡构图托举鲜活生趣，尽显对自然万物的入微体察，把郊野水畔的片刻生息凝为永恒，于细微之处见精妙写生功力，平淡间蕴藏盎然野意，让观者仿若窥见溪塘边的原生意趣。",[7,209,23,24,1004,28,27,808,17056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97e92ce8f7bb565ac480c460e43ae5a.jpg",[],{"id":39378,"slug":39379,"title":39380,"dynasty":18,"author":278,"museum":311,"description":39381,"tags":39382,"thumbUrl":39383,"material":139,"size":139,"collection":139,"collections":39384,"showCount":392,"zanCount":2209,"manualWeight":48,"mainColor":49},227902,"bai-mei-cui-qin-tu-yi-ming-227902","白梅翠禽图","画面取一隅枝桠，寒梅初绽，翠禽独立，将早春清寂揉进尺幅之间。禽鸟刻画入微，绒羽蓬松柔润，腹羽暖褐与翎羽浓黑相映，翼上白羽似落雪轻沾，圆目凝睇，沉静安然，将生机藏于娴静姿态里。梅花勾勒细腻，瓣边晕染浅淡墨色，花苞缀于枝梢，清润雅致。苍劲枝桠虬曲伸展，留白铺陈出空阔淡远的意境。整体色调温婉柔和，以极简物象晕染出宋人雅趣，把花鸟之态融于幽寂氛围，尽显空灵隽永的宋韵品格，将早春枝头上的轻悄生机，晕成一段淡而不散的雅致诗意。",[7,209,23,24,28,27,83,402,370,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86abed12ed0046a10b30eaab1a6ca674.jpg",[],{"id":39386,"slug":39387,"title":25004,"dynasty":18,"author":39388,"museum":311,"description":39389,"tags":39390,"thumbUrl":39391,"material":139,"size":139,"collection":139,"collections":39392,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},227807,"yu-le-tu-zhou-dong-qing-227807","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[7,209,23,24,25,28,173,27,783,314,263,3900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":39394,"slug":39395,"title":39396,"dynasty":277,"author":39397,"museum":311,"description":39398,"tags":39399,"thumbUrl":39402,"material":2164,"size":2165,"collection":139,"collections":39403,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},226548,"zhen-yan-mi-mi-tu-xiang-chao-man-tu-luo-juan-cai-hui-juan-ri-ben-zhen-yan-zong-seng-hui-shen-226548","《真言秘密图像钞》（曼荼罗卷）彩绘卷","日本－真言宗僧惠什","日本真言宗僧惠什撰。又称尊容钞、惠什钞、十卷抄。本书类聚诸尊之梵号、密号、种子、三形、道场观、印契及真言，且绘出诸尊之形像与曼荼罗，并述密供之次第。依今京都鸣泷常乐院所藏之古写本，其内容分为诸佛部、经部、诸菩萨部、观音部、忿怒部、诸天部等六部，总为百尊六法。真言宗，日本佛教主要宗派之一，密宗的一种，空海法师在唐求法，回国后以东寺为道场弘法，故称东密。其后逐渐分为小野、广泽二流，从此二流又分化出大量分派，大致可分为新义、古义二派。真言宗僧惠什，日本和尚，出生年日本真言宗自根本之小野、广泽二流开始，虽衍生众多流派，然中世以来仅大别为新义、古义二派，江户时代，古义派多属高野山，新义派则隶属智山、丰山二山。月不详，本名惠什。",[7,24,25,8041,27,28,243,106,39400,20142,3861,39401],"曼荼罗","图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab090e546a33f6addd580955eec18a4.jpg",[],{"id":39405,"slug":39406,"title":39407,"dynasty":76,"author":963,"museum":9959,"description":1688,"tags":39408,"thumbUrl":39409,"material":1411,"size":37974,"collection":139,"collections":39410,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},224524,"shan-shui-tu-ce-8-kai-8-zhang-da-qian-jiu-cang-shi-tao-224524","山水图册8开-8-张大千旧藏",[7,23,173,177,81,24,263,178,29,174,3899,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e46120bfc311a87046dd8a2c51cf479.jpg",[],{"id":39412,"slug":39413,"title":39414,"dynasty":76,"author":963,"museum":311,"description":39415,"tags":39416,"thumbUrl":39417,"material":139,"size":139,"collection":139,"collections":39418,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},224507,"shan-shui-ce-kai-shi-er-shi-tao-224507","山水冊开(十二)","此作用笔灵动苍润，以高远、平远之法铺展丘壑。远处群峰以淡赭浅墨晕染，峰峦层叠间氤氲着空濛清气，似含朝烟暮霭。近景顽石以浓墨勾皴，朴拙厚重，与远山的虚淡相映成趣。留白作水，扁舟渔父悄然行于烟波，林间墨点为木，寥寥数笔便点染出幽寂野趣。\n\n题画诗与山水浑然相融，将山河野旷间的放逸襟怀娓娓道来，寄寓着纵浪天地、栖心林泉的隐逸之思。笔墨干湿浓淡相生，以简驭繁，萧散淡远中尽显清逸灵秀的意韵，将天地山水间的自在之境铺陈开来，余韵悠长。",[7,23,24,81,173,27,177,263,29,174,176,34,4064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921716ec4a10b4154f9394b12795127a.jpg",[],{"id":39420,"slug":39421,"title":39422,"dynasty":76,"author":1584,"museum":311,"description":39423,"tags":39424,"thumbUrl":39425,"material":139,"size":139,"collection":139,"collections":39426,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},224402,"wang-chuan-tu-juan-wang-yuan-qi-224402","辋川图卷","此作用全景式铺展林壑烟波，干笔焦墨反复皴擦，层层晕染出苍润浑厚的山峦丘石。水泽横陈，将错落山居、葱郁林木串联，渔舟泛于空蒙水面，村落藏于深林岩岫之间，尽显幽寂萧散的山居雅意。\n\n画作恪守元人山水的淡远意趣，又以娄东画派绵密繁复的笔法铺陈，虚实相生间复刻出辋川栖居的林泉之胜，把文人理想中的幽隐之境凝于尺幅，笔墨苍秀兼具，静穆雅致中尽显传统山水的隽永意趣。",[7,23,25,27,173,29,177,108,109,174,175,107,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55542ac04f40c6195375482a7fc7f2.jpg",[],{"id":39428,"slug":39429,"title":39430,"dynasty":76,"author":39431,"museum":311,"description":39432,"tags":39433,"thumbUrl":39434,"material":2164,"size":2165,"collection":139,"collections":39435,"showCount":392,"zanCount":2209,"manualWeight":48,"mainColor":94},224345,"hua-ping-lian-da-shi-zhou-xu-can-224345","画瓶莲大士轴","徐灿","徐灿（约1618－1698），字湘蘋，又字明深、明霞，号深明，又号紫言（竹字头）。江南吴县（今苏州市西南）人。明末清初女词人、诗人、书画家，为“蕉园五子”之一。光禄丞徐子懋女，弘文院大学士海宁陈之遴继妻。从夫宦游，封一品夫人。\n工诗，尤长于词学。她的词多抒发故国之思、兴亡之感。又善属文、精书画、所画仕女设色淡雅、笔法古秀、工净有度、得北宋人法，晚年画水墨观音、间作花草。\n著有《拙政园诗馀》三卷，诗集《拙政园诗集》二卷，凡诗二百四十六首，今皆存。",[7,23,24,225,244,243,106,136,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43be0cc671ca5772a59c46547ea695db.jpg",[],{"id":39437,"slug":39438,"title":39439,"dynasty":76,"author":1047,"museum":311,"description":39440,"tags":39441,"thumbUrl":39442,"material":139,"size":139,"collection":139,"collections":39443,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},224260,"lin-lan-ting-xu-zhu-da-224260","临兰亭序","此作用笔枯淡古拙，将原本兰亭序的飘逸秀雅彻底解构，以欹侧跌宕的字形、稚倔朴茂的线条，揉入自身沉郁孤高的心境。章法错落疏朗，留白间满是冷逸疏离的况味，打破了原作舒展灵动的韵律，代以疏狂萧索的气度，把半生颠沛的孤寂寄寓笔端，在临帖之中注入强烈的个人风骨，为旧文赋予了全新的精神内核，是借经典抒己怀的绝佳范本。",[7,86,105,178,24,263,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719ef5e05a8d705368f4e2ad924f5ebb.jpg",[],{"id":39445,"slug":39446,"title":39447,"dynasty":18,"author":278,"museum":311,"description":39448,"tags":39449,"thumbUrl":39450,"material":139,"size":139,"collection":139,"collections":39451,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},223690,"ji-ling-he-ye-tu-yi-ming-223690","鹡鸰荷叶图","《宋人画鹡鸰荷叶图》是宋代佚名创作的绢本设色画。\n里枯枝断茎，荷叶翻卷残破，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，在一只鹡鸰的停驻下摇摇欲坠。\n鹡鸰双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。\n鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。\n构图疏密有致，动静结合。\n本幅无款。\n钤鉴藏印“宋荦审定”、“嘉庆御览之宝”，又半印一方，印文模糊不辨。\n裱边题签：“宋人画梅竹双鹊”。\n绿竹丛中逶迤伸出白梅两枝，清丽冷艳。\n两只鸲鹆栖于枝头，翘首顾盼。\n鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。\n梅花用白粉和淡黄色勾填，层次丰富。\n竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。\n清《石渠宝笈》著录。",[7,209,23,24,28,27,83,266,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb89fa76fc24385671298b4fe2b9f1ef.jpg",[],{"id":39453,"slug":39454,"title":39455,"dynasty":277,"author":278,"museum":311,"description":39456,"tags":39457,"thumbUrl":39458,"material":139,"size":139,"collection":139,"collections":39459,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},223686,"qi-shi-wen-shu-tu-yi-ming-223686","骑狮文殊图","此作用笔清劲雅致，以淡墨晕染铺陈。文殊端坐狮背，身伴圆光，面容沉静悲悯，手持如意，衣袂舒展飘逸，尽显出尘慧雅的气度。青狮昂首踏浪而行，兽目圆睁威严尽显，层叠海浪以淡墨晕染，古拙灵动，烘托出踏浪而行的悠然之势。\n\n上方题诗与画像呼应，将菩萨的般若智慧和空灵禅意融于尺幅间，兼蓄宗教肃穆与文人笔墨意趣。",[7,23,24,225,243,106,808,244,173,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1e4a5bcd97d0b2b84bdd429e2890f5.jpg",[],{"id":39461,"slug":39462,"title":39463,"dynasty":76,"author":278,"museum":206,"description":39464,"tags":39465,"thumbUrl":39466,"material":712,"size":39467,"collection":139,"collections":39468,"showCount":392,"zanCount":2209,"manualWeight":48,"mainColor":49},223555,"qing-qian-long-xiu-yun-shan-lou-ge-zhou-yi-ming-223555","清乾隆绣云山楼阁轴","此图由乾隆绘制，民间艺人绣于锦帛上。图绘仙境中金色云朵光芒耀眼，画面顶端楼宇飞檐翘壁，气势恢宏；从山底到达山顶的台阶数以千级，在山中蜿蜒向上；画上题：道洽三登",[7,315,9935,225,104,27,29,107,175,1365,9597,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ea82acf26ee7a9c9b7346c798aedd8.jpg","246.5x50.4cm",[],{"id":39470,"slug":39471,"title":39472,"dynasty":18,"author":278,"museum":20,"description":39473,"tags":39474,"thumbUrl":39476,"material":16468,"size":39477,"collection":90,"collections":39478,"showCount":392,"zanCount":2209,"manualWeight":48,"mainColor":49},223447,"han-ting-luo-yan-tu-zhou-yi-ming-223447","寒汀落雁图轴","图为寒冬枯树滩、野鸭、黑乌鸦、野雁。 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是毋庸置疑的。\n《唻洎頭條元世祖后像》中，皇后彻伯尔的帽子十分引人注目，几乎占了画面的一半空间，这种帽子叫作“罟罟冠”。“罟罟冠”原名叫“古库勒”，其名称的由来少见于记载，元代丘处机认为“罟罟冠”顶有一撮禽类的羽毛故而拟其声，女真人又称野兽为“故勒故”，推测元蒙时代“罟罟冠”的称谓，与其“取禽兽羽毛”的材质和女真人的发音都有一定的关系。至于“罟罟冠”的构造，分为两部分，即上部是一个顶稍宽的长简形，用桦木、柳枝或铁丝盘出形状来，胎骨外阿糊绒锦岁绢等，链顶装饰小珠，锦鸡等玲禽羽毛，顶郭折下部分的前中央，往上嵌有耀眼的太小珠翠，由两条带于把冠同定在头顶，旁边一缀上珠饰；下部是一抹横勒在额上的抹额，抹额在中间的传统可以追溯到北朝，时称“幕罗”，晦则发展为“帷幕”，称为“滟婆勘于”。尚婆勒干和上冠台之，便为所谓的罟罟冠。\n除开画像中对“罟罟冠”的描绘外，皇后的“一字眉”也非常有特色，这种眉形不仅细长而平齐，在元代流行的时间很长是蒙古族女特有的一种妆饰。通常的做法是先将天生的眉毛剃掉，然后画上细长的“一字眉”。\n蒙古女贵族的服装样式，则明显受到汉族女装的影响，宽的袖千绣满镂盒花边的领口，体现入主中原之后的“汉化”进程。《元世祖皇后像》中，皇后的衣服颜色是大红。元代以红为贵，衣服颜色亦象征着不同的社会等级最尊贵阶层穿红色和紫色的表服，中间阶层穿青色和绿色的农服，寻常百姓则只许穿檀褐色等暗色服装。",[7,23,24,28,27,106,27234,63,64,39607,189,12317],"古代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ec05610a71f67070ac1abd81d2630.jpg",[44,45],{"id":39611,"slug":39612,"title":39613,"dynasty":18,"author":2483,"museum":206,"description":39614,"tags":39615,"thumbUrl":39616,"material":123,"size":39617,"collection":139,"collections":39618,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},221673,"a-ge-tu-zhou-zhao-bo-ju-221673","阿阁图轴","这幅画佛盤膝坐毡上说法，下方海神身披弓剑跪地合掌参拜。前置海神奉献的聚宝盆。几上瓶中有烟，将说法内容显现于后，作云中的宫阙。但因绢色陈旧，不容易看清楚。全幅人物勾画圆劲，著色明净沉静，神采不减于新画。",[7,23,209,26,104,27,28,107,29,266,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a4900b271346803958202ba89e9f1.jpg","73.3x55.6",[],{"id":39620,"slug":39621,"title":17773,"dynasty":18,"author":17774,"museum":20,"description":17775,"tags":39622,"thumbUrl":39623,"material":699,"size":17778,"collection":328,"collections":39624,"showCount":392,"zanCount":2209,"manualWeight":48,"mainColor":94},221231,"er-zha-tie-fan-zhong-yan-221231",[7,24,86,178,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3eeca4d08ded70a5ea11316f1b9c881.jpg",[328],{"id":39626,"slug":39627,"title":39628,"dynasty":76,"author":77,"museum":56,"description":39629,"tags":39630,"thumbUrl":39631,"material":39632,"size":39633,"collection":181,"collections":39634,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[7,23,24,225,27,177,104,29,107,34,865,176,109,1265,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[181,45],{"id":39636,"slug":39637,"title":39638,"dynasty":76,"author":7940,"museum":311,"description":10230,"tags":39639,"thumbUrl":39640,"material":88,"size":10234,"collection":139,"collections":39641,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4",[7,23,24,29970,27,173,177,29,108,109,174,34,176,4970,31,7943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39feb4bfd7c05be91065cc43167d1a.jpg",[],{"id":39643,"slug":39644,"title":39645,"dynasty":76,"author":7940,"museum":311,"description":10230,"tags":39646,"thumbUrl":39647,"material":88,"size":10234,"collection":139,"collections":39648,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},220130,"mo-gu-shan-shui-hua-5-wang-hui-220130","摹古山水画5",[7,23,29970,27,29,177,108,109,150,865,866,176,106,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007cf6e6237657652062701099155b76.jpg",[],{"id":39650,"slug":39651,"title":39652,"dynasty":99,"author":9817,"museum":8534,"description":39653,"tags":39654,"thumbUrl":39655,"material":123,"size":39656,"collection":181,"collections":39657,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},219939,"han-lin-tiao-shu-tu-zhang-lu-219939","寒林挑书图","张路（1464-1538），字天驰，号平山，仅以字行于世，祥符（今河南开封）人。擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名。",[7,23,173,27,177,400,106,865,1776,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421caf7257300c2841033656677c2b35.jpg","132.4x71.4",[181],{"id":39659,"slug":39660,"title":39661,"dynasty":76,"author":803,"museum":20,"description":39662,"tags":39663,"thumbUrl":39665,"material":88,"size":39666,"collection":44,"collections":39667,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},219629,"ren-yi-hua-shen-lu-ting-du-hua-tu-xiang-zhou-ren-yi-219629","任颐画沈芦汀读画图像轴","画面分为上下两段，文墨相融。下方写意绘就雅集读画的场景，对坐的主客神态专注，侍者垂手捧卷静立一旁，人物形神兼备，衣纹线条简括灵动，水墨晕染出树影苍润，浅淡设色衬出雅致清和的氛围，将文人赏画的闲散意趣尽显。上方题诗笔意舒展，与画作呼应，把寄情书画、耽于林泉的林下风流铺陈开来。整作以写意之笔，摹写文人雅事，尽显清淡隽秀的文人审美意韵。",[7,23,24,225,27,173,178,39664,106,28292,9194,34,263],"工笔写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e54df0d3458667c8290256debccb71.jpg","纵33cm，横40cm",[44],{"id":39669,"slug":39670,"title":39671,"dynasty":99,"author":39672,"museum":20,"description":39673,"tags":39674,"thumbUrl":39676,"material":699,"size":39677,"collection":328,"collections":39678,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},219164,"shi-han-ce-peng-nian-2191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“书初法晋人，己为楷，其小者信本（欧阳询），大者清臣（颜真卿），行、草则子瞻（苏轼）。”但彭年舍苏轼丰腴、偏肥、卧笔，而以清劲爽健的笔锋使其笔法更为开放活泼，故王世贞又云：“行、草眉山若远耳。”",[7,23,24,86,178,81,173,263,39675],"诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa41ab93392936e7e9e6c6d457c78455c.jpg","每开纵26厘米，横33.5厘米",[328],{"id":39680,"slug":39681,"title":39682,"dynasty":99,"author":278,"museum":1098,"description":39683,"tags":39684,"thumbUrl":39686,"material":123,"size":39687,"collection":90,"collections":39688,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},218983,"shuang-feng-tu-yi-ming-218983","双凤图","双凤立于苍石之上，一昂首扬尾，羽色斑斓；一低首理翎，姿态娴静。笔触细腻处，翎羽纹理毕现，古朴色泽中透着温润；写意间，墨竹疏斜，花草点缀，衬出清幽之境。山石的厚重与凤鸟的灵秀相映，满含祥瑞之气，尽显古典花鸟的雅致韵致与自然生机。笔墨工写相济，将凤鸟的灵动与环境的静谧完美融合，传递出传统艺术中对生命与祥瑞的美好期许。",[7,23,24,28,27,83,39685,226,283,386,266],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281d3ed1187e1095135d352c1b21d46.jpg","155.3x103.2cm",[90],{"id":39690,"slug":39691,"title":39692,"dynasty":189,"author":23683,"museum":206,"description":39693,"tags":39694,"thumbUrl":39696,"material":123,"size":139,"collection":139,"collections":39697,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},218829,"jiang-cun-huan-du-tu-zhu-de-run-218829","江村唤渡图","纨扇间铺展的江村小景，似是元人袖中藏起的一段清寂时光。枯树以苍劲笔线勾勒，枝桠如蟹爪般遒劲，与岸边柔婉的垂柳相映成趣，刚柔之间晕开季节的况味。远山以淡墨轻染，隐于云雾之后，与近岸的村落、渡头形成虚实层次，水面留白似泛着轻烟，将天地空濛感拉得悠长。渡头人影虽小，却似携着一声唤渡轻响，打破山林静谧又让静意更显深沉。墨色浓淡相宜，绢本古雅质感衬得景致愈发悠远，笔意间藏着林泉之志的向往，将寻常渡头的片刻，凝成耐人寻味的水墨诗行。",[7,23,24,81,173,177,29,865,866,109,194,39695,33],"渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754738568dfb446c4439248b95ec0a4d.jpg",[],{"id":39699,"slug":39700,"title":39701,"dynasty":18,"author":278,"museum":206,"description":39702,"tags":39703,"thumbUrl":39704,"material":123,"size":39705,"collection":181,"collections":39706,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[7,209,23,27,29,1352,177,2607,227,136,384,734,282,1231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[181],{"id":39708,"slug":39709,"title":39710,"dynasty":189,"author":3051,"museum":206,"description":39711,"tags":39712,"thumbUrl":39713,"material":123,"size":139,"collection":181,"collections":39714,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},218781,"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[7,23,1352,27,177,29,1365,109,266,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[181],{"id":39716,"slug":39717,"title":24005,"dynasty":18,"author":278,"museum":206,"description":30414,"tags":39718,"thumbUrl":30416,"material":123,"size":39719,"collection":90,"collections":39720,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},218696,"an-chun-tu-yi-ming-218696",[7,23,24,28,27,83,8304,263],"35.3x25.8",[90],{"id":39722,"slug":39723,"title":39724,"dynasty":99,"author":5372,"museum":206,"description":39725,"tags":39726,"thumbUrl":39728,"material":327,"size":39729,"collection":181,"collections":39730,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},218141,"gu-yu-fei-tao-tu-sun-ke-hong-218141","孤屿飞涛图","孤屿飞涛图是明朝画家孙克弘的一幅著名的写意山水画作品。这幅画描绘了一个孤岛上的悬崖峭壁和奔腾的海浪。画中的孤岛位于茫茫大海之中，周围没有其他的岛屿或陆地。这使得孤岛显得格外的孤独，令人想象。\n\n孤屿飞涛图画风精细，笔画流畅，色彩鲜明。画中的海浪十分壮观，充满了生命力和动感。孤岛上的山峰高耸，悬崖峭壁俯瞰着海面，使得整幅画充满了险峻的气氛。\n\n孙克弘是明朝时期的一位著名画家，他的作品中经常出现山水、花鸟、人物等题材。孙克弘善于运用自然的色彩和线条来描绘自然美景，使他的作品充满了生机和活力。孤屿飞涛图就是他的一幅杰作，充分展现了他的画风和技巧。\n\n总的来说，孤屿飞涛图是一幅优秀的写意山水画作品，值得一看。",[7,23,24,81,173,27,29,229,39727,282],"波涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f979371de8839632bf5dcdf028a48c6.jpg","22.7x26.6cm",[181],{"id":39732,"slug":39733,"title":39734,"dynasty":76,"author":963,"museum":1098,"description":1099,"tags":39735,"thumbUrl":39736,"material":88,"size":139,"collection":44,"collections":39737,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},218127,"zhong-song-tu-shi-tao-218127","种松图",[7,23,27,173,86,263,178,106,403,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c08b724a41ded1b9e47ee7bd779b63.jpg",[44],{"id":39739,"slug":39740,"title":39741,"dynasty":76,"author":1047,"museum":132,"description":4978,"tags":39742,"thumbUrl":39743,"material":409,"size":139,"collection":139,"collections":39744,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},216354,"hua-niao-ce-4-zhu-da-216354","花鸟册-4",[7,23,173,81,136,781,83,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315df4d9d41560bbaf78619963a740b8.jpg",[],{"id":39746,"slug":39747,"title":39748,"dynasty":76,"author":1047,"museum":132,"description":4978,"tags":39749,"thumbUrl":39750,"material":409,"size":139,"collection":139,"collections":39751,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},216352,"hua-niao-ce-6-zhu-da-216352","花鸟册-6",[7,23,173,83,400,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7558dcf628ca089e03c201eea3b0973c.jpg",[],{"id":39753,"slug":39754,"title":39755,"dynasty":99,"author":39756,"museum":132,"description":39757,"tags":39758,"thumbUrl":39759,"material":88,"size":139,"collection":139,"collections":39760,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},216293,"han-xi-meng-xiu-song-yuan-ming-ji-ce-pu-tao-song-shu-tu-han-xi-meng-216293","韩希孟绣宋元名迹册·葡萄松鼠图","韩希孟","丝缕穿梭间，葡萄藤蔓蜿蜒，叶片脉络依稀，紫珠垂坠似凝清露。松鼠躬身攀枝，绒尾蓬松若可触，双目凝向串串琼瑶，神态灵动欲跃。针脚细如毫发，色阶过渡自然，将宋元画本的雅致气韵，以立体丝韵重构。顾绣之妙在此尽显：以针代笔，线代墨色，却多了触感的温柔与生命的温度。寻常花鸟小景，化作丝帛间的意趣诗行，藏着绣者的匠心，也凝着对生机的脉脉捕捉，让静止的画面，在丝缕交织里漾起鲜活的涟漪。",[7,939,24,9935,28,27,81,2569,16568,83,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc2f36966c2ecb8f9a8823f620f27e1.jpg",[],{"id":39762,"slug":39763,"title":39764,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":39765,"thumbUrl":39766,"material":409,"size":4264,"collection":139,"collections":39767,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},214976,"dao-zi-mo-bao-ren-wu-bai-miao-hua-12-yi-ming-214976","道子墨宝人物白描画-12",[7,209,23,24,244,106,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efbc8fb7af76f812ae6723f21ed3a30.jpg",[],{"id":39769,"slug":39770,"title":39771,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":39772,"thumbUrl":39773,"material":409,"size":4264,"collection":139,"collections":39774,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},214974,"dao-zi-mo-bao-ren-wu-bai-miao-hua-11-yi-ming-214974","道子墨宝人物白描画-11",[7,209,23,24,244,106,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4c79b239cabfe0e03a6fd8dbf4794b.jpg",[],{"id":39776,"slug":39777,"title":39778,"dynasty":76,"author":963,"museum":132,"description":4986,"tags":39779,"thumbUrl":39780,"material":88,"size":4990,"collection":90,"collections":39781,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},214555,"mo-zui-za-hua-tu-ce-12-shi-tao-214555","墨醉杂画图册-12",[7,23,24,81,173,263,402,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf179e6fbf7e601ff7c204a40316518.jpg",[90],{"id":39783,"slug":39784,"title":39785,"dynasty":99,"author":7174,"museum":206,"description":7175,"tags":39786,"thumbUrl":39787,"material":409,"size":7178,"collection":139,"collections":39788,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},214554,"za-shu-shi-tie-juan-4-zhu-yun-ming-214554","杂书诗帖卷-4",[7,86,25,2570,178,622,173,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf08149ef9b2f9388cacc189eac07ab.jpg",[],{"id":39790,"slug":39791,"title":39792,"dynasty":76,"author":1047,"museum":132,"description":39793,"tags":39794,"thumbUrl":39795,"material":3852,"size":139,"collection":139,"collections":39796,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":94},214430,"shan-shui-tu-ce-1-zhu-da-214430","山水图册-1","清代画家朱耷的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了朱耷对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n朱耷是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，朱耷的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了朱耷对自然的热爱和对传统文化的尊重。",[7,23,24,81,173,177,29,34,266,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403d9e777b773eaf5209313cbf74a82.jpg",[],{"id":39798,"slug":39799,"title":39800,"dynasty":189,"author":767,"museum":311,"description":5567,"tags":39801,"thumbUrl":39802,"material":2164,"size":2165,"collection":139,"collections":39803,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},290442,"qiu-shan-du-shu-tu-ke-luo-ban-wang-meng-290442","秋山读书图（珂罗版）",[7,23,209,173,225,29,466,34,4969,108,109,1112,21382,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5464f995e7c474f65e7423200238cf.jpg",[],{"id":39805,"slug":39806,"title":14481,"dynasty":189,"author":278,"museum":311,"description":39807,"tags":39808,"thumbUrl":39810,"material":2164,"size":2165,"collection":139,"collections":39811,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":49},290163,"liu-min-tu-yi-ming-290163","此作以长卷铺展流民迁徙的群像。左侧农妇骑牛抱子，随行孩童或驱牛牵犬，涉水流民肩扛行囊、拖家带口，步履仓促间满是疲色。右侧岸上乡邻伫立眺望，神情怅惘，默默送别远去的乡人。\n画师以苍劲白描勾勒身形，衣纹顿挫利落，将流民的凄苦与不舍刻画入微，憨拙写实的水牛，与孩童懵懂嬉闹的情态，反衬出成人背井离乡的愁绪。淡墨晕染水岸山石，荒寂江野烘托出离乱氛围，未刻意渲染悲戚，却以日常迁徙细节，道尽乱世生民的辛酸，藏着对苍生疾苦的深切共情。",[7,23,25,2158,173,27,151,4304,31,10766,21657,21658,39809],"民俗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6114084f09029b5f13855ef6b5090d.jpg",[],{"id":39813,"slug":39814,"title":39815,"dynasty":76,"author":12256,"museum":311,"description":39816,"tags":39817,"thumbUrl":39819,"material":2164,"size":2165,"collection":139,"collections":39820,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},289975,"lou-tai-chun-wu-tu-zhou-yuan-jiang-289975","楼台春雾图轴","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[7,23,225,104,27,29,107,39818,34],"春雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c64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金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[7,24,86,25,178,2570,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6408452e577c55dc92323b19a5b6fc.jpg",[],{"id":39927,"slug":39928,"title":39929,"dynasty":54,"author":19690,"museum":20,"description":39930,"tags":39931,"thumbUrl":39932,"material":699,"size":39933,"collection":328,"collections":39934,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},239554,"zhang-hao-hao-shi-juan-du-mu-239554","张好好诗卷","释文：\n张好好诗并序。 牧大和三年佐故吏部沈公江西幕。好好年十三，始以善歌舞来乐藉中。后一岁，公镇宣城，复置好好于宣城藉中。后二年，沈著作述师以双鬟纳之。又二岁，余于洛阳东城重睹好好，感旧伤怀，故题诗赠之。 君为豫章姝，十三才有余。翠茁凤生尾，丹脸莲含跗。高阁倚天半，晴江连碧虚。此地试君唱，特使华筵铺。主公顾四座，始讶来踟蹰。吴娃起引赞，低徊暎长裾。双鬟可高下，才过青罗襦。盼盼下垂袖，一声离凤呼。繁弦迸关纽，塞管引圆芦。众音不能逐，袅袅穿云衢。主公再三叹，谓之天下殊。赠之天马锦，副以水犀梳。龙沙看秋浪，明月游东湖。自此每相见，三日以为疏。玉质随月满，艳态逐春舒。绛唇渐轻巧，云步转虚徐。旌旆忽东下，笙歌随舳舻。霜凋小（此字点去）谢楼树，沙暖句溪蒲。身外任尘土，罇前且欢娱。飘然集仙客（著作任集贤校理），讽赋期相如。聘之碧玉佩，载以紫云车。洞闲水声远，月高蟾影孤。尔来未几岁，散尽高阳徒。洛阳重相见，绰绰为当炉。怪我苦何事，少年生白须。朋游今在否，落拓更能无。门馆恸哭后，水云愁景初。斜日挂衰柳，凉风生座偶。口口口（洒尽满）襟泪，短章聊口口（一书）\n此卷鉴藏印有“弘文之印”、“宣龢”、“政和”（连珠）、“宣和”、“政龢”、“内府图书之印”、“秋壑图书”、“张氏珍玩”、“北燕张氏珍藏”、“项子京家珍藏”、“张则之”、“蕉林居士”、“宋荦审定”、“张伯驹珍藏印”等，以及清代乾隆、嘉庆、宣统三帝御览及清内府鉴藏印11方，朱文）等张伯驹鉴藏印。\n此卷是唐代诗人、书法家杜牧的仅存墨迹，也是稀见的唐代名人书法作品之一。张好好是一名歌妓，容颜娇美，才华出众。杜牧的这首五言长诗，就是为她而作。诗中描写了作为少年歌妓的张好好始得高官沈传师宠遇，终因沈的去世而流落市井的不幸身世，寄托了对她的无限同情，是杜牧诗作名篇。诗载杜牧《樊川集》中，墨迹的末二句，因伤残缺“洒尽满”、“一书”五字，然不伤书诗的整体精神。\n该卷书用麻纸，制作相当精细。书用硬笔，笔法劲健，颇多叉笔。这些都是唐代书法的用纸、笔法的特点。《宣和书谱》一书评杜牧书法：“气格雄健，与文章相表里”，是说作者诗文、书法有统一的风格。卷前有宋徽宗赵佶书签“唐杜牧张好好诗”，并钤有宋徽宗御府的诸玺印，保存着北宋内府装潢式样。兹后曾递藏于宋贾似道、明项元汴、张孝思、清梁清标等人，乾隆年间入藏内府。据《式古堂书画记考·卷七》所记，该卷后元人诸跋，是从唐赵模《千字文》后移来。《宣和书谱》、《悦生所藏书画别录》、《平生壮观》、《大观录》、《吴越所见书画录》、《石渠宝笈·初编》等书著录。\n该卷曾被清逊帝溥仪携出宫外，流散民间后归张伯驹所有。1956年张伯驹先生将其捐赠政府，此珍贵文物重为故宫博物院收藏。",[7,24,86,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dc7418c00d9320a7545a844dc2089e.jpg","纵28.2厘米，横162厘米",[328],{"id":39936,"slug":39937,"title":39938,"dynasty":99,"author":936,"museum":311,"description":39939,"tags":39940,"thumbUrl":39941,"material":841,"size":139,"collection":139,"collections":39942,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":94},234258,"dan-chang-zhou-chen-hong-shou-234258","弹唱轴","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺为僧，后还俗，以卖画为生，死因说法不一。亦能画水墨写意花卉，酣畅淋漓。还长于为文学作品创作插图，能表现出原作人物的精神气质。其画手法简练，色彩沉着含蓄，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。\n陈洪绶去世后，其画艺画技为后学所师承，堪称一代宗师，名作《九歌图》（含《屈子行吟图》）、《插图》、《水浒叶子》、《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[7,23,24,25,28,27,244,106,228,4304,1112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b56da018814c611b2efc6f220be42d.jpg",[],{"id":39944,"slug":39945,"title":39946,"dynasty":99,"author":39947,"museum":311,"description":39948,"tags":39949,"thumbUrl":39950,"material":1691,"size":1691,"collection":139,"collections":39951,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},234205,"zhu-lan-shi-juan-yang-ming-shi-234205","竹兰石卷","杨明时","杨明时，字存吾，号不弃。今属安徽省黄山市歙县。诗书画俱擅，又精鉴别，《余清斋帖》双钩上石出其手。画宗董源，工山水、兰竹。",[7,23,24,25,173,400,406,226,385,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b8f72a8ff9518fa2e5b87befb33598.jpg",[],{"id":39953,"slug":39954,"title":39955,"dynasty":189,"author":3051,"museum":20,"description":39956,"tags":39957,"thumbUrl":39958,"material":1207,"size":39959,"collection":139,"collections":39960,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},232986,"gu-shan-tu-juan-qian-xuan-232986","孤山图卷","本幅设色，左方自题七绝一首，款：”吴兴钱舜举“。题跋：引首陈沂篆书”溪诗画“本幅上面弘历题诗，后隔水弘历书诗，后幅文征明书林逋诗数首，梁诗正书赋。印记：引首四方，本幅及前后隔水有项子京，乾隆，宣统等引49方，半印一方，后幅印24方。",[7,23,24,25,29,27,28,86,263,175,384,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12955f6e35b97926ac45250b8c8c005a.jpg","纵92.5cm，横23.4cm",[],{"id":39962,"slug":39963,"title":39964,"dynasty":99,"author":936,"museum":311,"description":39965,"tags":39966,"thumbUrl":39968,"material":67,"size":39969,"collection":139,"collections":39970,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":49},231485,"gong-feng-tu-chen-hong-shou-231485","供奉图","陈洪绶利用各种作画技法适应不同题材，如用折笔或粗渴之笔表现英雄、细圆之笔表现文士美人、用游 丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[7,209,23,24,225,27,28,244,106,59,228,63,9193,39967,8871,263,86],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":39972,"slug":39973,"title":39974,"dynasty":18,"author":461,"museum":206,"description":39975,"tags":39976,"thumbUrl":39977,"material":67,"size":13816,"collection":139,"collections":39978,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","秋林飞瀑图","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[7,23,24,29,225,177,27,5613,1080,176,34,466,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg",[],{"id":39980,"slug":39981,"title":39982,"dynasty":277,"author":39983,"museum":311,"description":39984,"tags":39985,"thumbUrl":39986,"material":67,"size":2165,"collection":139,"collections":39987,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},230561,"shi-liu-luo-han-xiang-01-bin-du-luo-ba-luo-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230561","十六罗汉像01宾度罗跋啰惰阇尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[7,23,28,27,243,106,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9b1af20af622f173a9376aa9b34db6.jpg",[],{"id":39989,"slug":39990,"title":39991,"dynasty":76,"author":1047,"museum":311,"description":39992,"tags":39993,"thumbUrl":39994,"material":139,"size":139,"collection":139,"collections":39995,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[7,23,173,105,177,263,86,178,81,29,865,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a04e65a06c5e5dd23ad39258130058b.jpg",[],{"id":39997,"slug":39998,"title":39999,"dynasty":76,"author":963,"museum":311,"description":4519,"tags":40000,"thumbUrl":40001,"material":2164,"size":2165,"collection":139,"collections":40002,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},228988,"bai-miao-luo-han-tu-juan-shi-tao-228988","白描罗汉图卷",[7,209,23,24,25,244,243,106,176,34,8436,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9099139807f3e55a6295db547dc07a8.jpg",[],{"id":40004,"slug":40005,"title":40006,"dynasty":18,"author":19529,"museum":311,"description":40007,"tags":40008,"thumbUrl":40009,"material":139,"size":139,"collection":139,"collections":40010,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[7,209,23,24,25,29,27,5535,37053,557,1079,1082,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],{"id":40012,"slug":40013,"title":40014,"dynasty":99,"author":936,"museum":311,"description":40015,"tags":40016,"thumbUrl":40017,"material":139,"size":139,"collection":139,"collections":40018,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228287,"za-hua-tu-ce-8-kai-chen-hong-shou-228287","杂画图册8开","此作用平远法铺展景致，山峦层叠迤逦，以圆润苍劲的皴笔勾勒石体质感，淡赭敷色晕染出暖调山光，清润柔和。水面留白尽显空濛烟波之意，不着一笔却漾漾有水气流动。山石间点缀青绿苔点，冷色调打破赭石的厚重，为静穆山水晕染出鲜活生机。\n整幅简淡清旷，以复古笔致意摹古贤意趣，无繁复刻画，只以极简的点染铺陈，将江南水畔温软沉静的山光凝于尺幅，悠悠透出文人沉湎林泉的静穆襟怀，淡远清和，尽显含蓄内敛的古典诗意。",[7,23,24,81,27,177,263,29,229,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac4124007a9a2c95659e7ef43ddff79.jpg",[],{"id":40020,"slug":40021,"title":40022,"dynasty":99,"author":936,"museum":311,"description":40023,"tags":40024,"thumbUrl":40025,"material":139,"size":139,"collection":139,"collections":40026,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},228285,"shan-shui-shi-hua-ce-chen-hong-shou-228285","山水诗画册","此作对页诗画合一，右侧绘虬曲古松下，高士席地安坐，衣袂舒展悠然，静享林泉幽寂。古松苍劲奇崛，松针层叠清润，石畔苔点幽微，笔致高古静穆，尽显林下幽居的散淡意趣。\n左侧书法清隽挺秀，诗文与画境呼应，禅意悠然。整体以极简笔墨，勾勒出世外风雅，将林下幽栖的禅寂通透相融，传递出超脱世情的澹泊襟怀，是诗画相映的雅致佳构，尽显文人的林下襟怀与静穆审美。",[7,23,24,81,178,173,27,106,1365,176,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886cc4e13292bed024a0da93b5746e38.jpg",[],{"id":40028,"slug":40029,"title":40030,"dynasty":189,"author":32411,"museum":311,"description":40031,"tags":40032,"thumbUrl":40033,"material":139,"size":139,"collection":139,"collections":40034,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","此作用淡墨白描写就，分绘三种花卉，以清隽挺秀的笔线勾勒花叶轮廓，淡墨晕染出阴阳向背，不施丹青却尽现花卉娇柔雅致之态。芍药秾而不俗，水仙清逸出尘，玉簪幽淡含露，墨色清润柔和，将草木风姿描摹入微。\n\n三段皆配题诗，诗画相映，书卷气浓厚，以墨代色，以意写形，把文人幽淡的情思寄寓在一花一叶间，尽显简淡雅致的审美意趣，是水墨花鸟小品中的佳构。",[7,209,23,24,25,244,173,28,83,369,405,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],{"id":40036,"slug":40037,"title":11685,"dynasty":189,"author":645,"museum":311,"description":40038,"tags":40039,"thumbUrl":40040,"material":139,"size":139,"collection":139,"collections":40041,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[7,23,24,1352,173,27,29,867,109,174,34,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":40043,"slug":40044,"title":40045,"dynasty":18,"author":11652,"museum":311,"description":40046,"tags":40047,"thumbUrl":40049,"material":139,"size":139,"collection":139,"collections":40050,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[7,209,23,24,225,173,29,177,174,865,1265,176,2310,34,1086,10766,1776,4064,3710,30707,4191,40048],"宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":40052,"slug":40053,"title":40054,"dynasty":18,"author":278,"museum":311,"description":40055,"tags":40056,"thumbUrl":40057,"material":139,"size":139,"collection":139,"collections":40058,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":49},227880,"tao-zhi-shuang-que-tu-yi-ming-227880","桃枝双雀图","此作构图疏密相宜，桃枝虬曲延展，叶片与桃果晕染细腻，清润雅致。两只雀鸟动静相映，一鸟侧身伫立，侧目凝神，羽色的丝绒质感刻画入微；一鸟探身向下，似欲啄食，灵动鲜活。设色浅淡柔和，以墨色勾勒筋骨，淡彩晕染出物象的层次生趣，古旧绢面晕开沉郁温润的底色，更衬出画面的雅致沉静。将林间一角的幽微生机敛于方寸之间，把日常小景绘成雅致诗画，尽显花鸟小品的含蓄禅意与写生妙趣。",[7,23,209,1352,83,28,27,16569,16900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa40fc2a6baeafb73635a4540f8512cf2.jpg",[],{"id":40060,"slug":40061,"title":40062,"dynasty":18,"author":1395,"museum":311,"description":17923,"tags":40063,"thumbUrl":40064,"material":139,"size":139,"collection":139,"collections":40065,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227773,"song-yin-xiu-qi-tu-ye-li-tang-227773","松荫休憩图页",[7,209,23,24,81,27,29,106,403,109,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae2c819f22354f91624b8b982a41c2a.jpg",[],{"id":40067,"slug":40068,"title":40069,"dynasty":18,"author":1395,"museum":311,"description":32808,"tags":40070,"thumbUrl":40071,"material":139,"size":139,"collection":139,"collections":40072,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227769,"shan-jian-ting-yin-tu-ye-li-tang-227769","山涧亭荫图页",[7,209,23,24,4850,27,177,29,175,107,34,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62d8b679d7f4f502dfbd58fec656d8e.jpg",[],{"id":40074,"slug":40075,"title":28011,"dynasty":18,"author":2039,"museum":311,"description":40076,"tags":40077,"thumbUrl":40078,"material":139,"size":139,"collection":139,"collections":40079,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227739,"huo-lang-tu-ye-li-song-227739","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[7,209,23,24,1352,28,27,106,228,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc853454829aec9f8be8f73998aa141.jpg",[],{"id":40081,"slug":40082,"title":24041,"dynasty":18,"author":9978,"museum":311,"description":40083,"tags":40084,"thumbUrl":40085,"material":139,"size":139,"collection":139,"collections":40086,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":49},227613,"shan-shui-tu-ye-zhao-ling-rang-227613","赵令穰(北宋)字大年，汴京(今河南开封市)人，生卒年不详，宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠开府仪同三司，追封荣国公。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。\n赵令穰幼时即爱书画﹐富于文学修养﹐家藏有晋唐以来法书名画。他与画家文人时相往来。赵佶(宋徽宗)为端王时亦与他交游﹐切磋画艺。",[7,23,209,24,81,27,177,29,866,7803,176,109,22123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069c533c496616b5bcf7a2d34a2002ef.jpg",[],{"id":40088,"slug":40089,"title":40090,"dynasty":18,"author":553,"museum":311,"description":40091,"tags":40092,"thumbUrl":40094,"material":139,"size":139,"collection":139,"collections":40095,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227543,"guan-chao-tu-ye-guo-xi-227543","观潮图页","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[7,23,24,29,173,177,81,5967,384,40093],"潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd2704c889b3485019347aec338e950.jpg",[],{"id":40097,"slug":40098,"title":40099,"dynasty":18,"author":40100,"museum":311,"description":40101,"tags":40102,"thumbUrl":40103,"material":139,"size":139,"collection":139,"collections":40104,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227410,"shen-jun-tu-li-zhou-li-yong-ji-227410","神骏图立轴","李用及","宋代画家李永基善画解说，尤善鬼神。 体格结实，强壮，不受约束，并不特别怪异。 唯一大师吴升（桃子）的笔。 其父掌管天五库军，能画天阔马，是韩干笔法的典范。 顾维佑也为病马干活。",[7,23,209,225,28,27,150,808,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb813d9e9ed4d72843f7460da6848b829.jpg",[],{"id":40106,"slug":40107,"title":30992,"dynasty":18,"author":2028,"museum":311,"description":40108,"tags":40109,"thumbUrl":40110,"material":139,"size":139,"collection":139,"collections":40111,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},226545,"yu-le-tu-juan-jing-hao-226545","荆浩（约850-？），五代后梁最具影响的山水画家，博通经史，并长于文章。字浩然，沁水（一说为山西，一说为河南济源）。士大夫出身，后梁时期因避战乱，曾隐居于太行山洪谷，故自号“洪谷子”。擅画山水，常携笔摹写山中古松。所作云中山顶，能画出四面峰峦的雄伟气势。自称兼得吴道子用笔及项容用墨之长，创造水晕墨章的表现技法。亦工佛像，曾在汴京（今河南开封）双林院作有壁画。是中国山水画发展过程中具有重要影响的画家之一。\n\n存世《匡庐图》。其他均已失传。至于目前传为荆浩所作的五幅画——美国纳尔逊美术馆收藏的《雪景山水图》、日本大阪市立美术馆收藏的《江山瑞霭图》、台湾故宫博物院收藏的《渔乐图》等，其真伪都存有争议。\n\n荆浩不仅创造了笔墨并重的北派山水画，被后世尊为北方山水画派之祖，还为后人留下著名的山水画理论《笔法记》，以假 托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[7,23,24,25,173,177,29,34,558,31,1086,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg",[],{"id":40113,"slug":40114,"title":40115,"dynasty":277,"author":40116,"museum":311,"description":40117,"tags":40118,"thumbUrl":40119,"material":139,"size":139,"collection":139,"collections":40120,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":49},226542,"du-diao-tu-jiang-xi-meng-226542","独钓图","姜希孟","纸本，墨笔，56*36cm，东京国立博物馆藏。图绘河边杂草丛生，枯木二棵，枝杆张牙舞爪，沧桑孤傲；河面上一老者船头独自垂钓，静谧详和；远处水面广阔，画面透着冷寂之意境。姜希孟，朝鲜王朝的士大夫画家，宫廷画师。",[7,23,24,173,400,177,29,865,174,1542,11269,2310,21613,12037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],{"id":40122,"slug":40123,"title":40124,"dynasty":277,"author":34092,"museum":311,"description":34093,"tags":40125,"thumbUrl":40126,"material":2164,"size":2165,"collection":139,"collections":40127,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},225295,"huo-tian-ben-dong-jing-zhen-hai-225295","火天(本-东京)",[7,23,24,225,243,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b3f9abef49f88f538da978b833e115.jpg",[],{"id":40129,"slug":40130,"title":40131,"dynasty":76,"author":963,"museum":311,"description":40132,"tags":40133,"thumbUrl":40134,"material":139,"size":139,"collection":139,"collections":40135,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[7,23,173,27,177,81,29,108,109,174,866,176,35,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":40137,"slug":40138,"title":40139,"dynasty":76,"author":4406,"museum":206,"description":40140,"tags":40141,"thumbUrl":40143,"material":712,"size":40144,"collection":139,"collections":40145,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":94},224484,"ni-fan-hua-yuan-qiu-lin-xiao-si-tu-wang-jian-224484","拟范华原秋林萧寺图","此作用高远、平远之法铺展景致，主峰奇崛陡立，古寺隐于层峦间，飞瀑穿石而下。前景林木蓊郁，板桥通幽，山居人家藏于松荫，江畔苍松虬劲，渔翁垂竿秋水之上，远景江天寥廓，浅墨晕染远山，清寂萧疏之意漫溢画面。\n\n以浅绛糅合青绿晕染山石，皴法朴厚，兼得雄健风骨与秀雅笔致，将秋山野林的空阔萧远与幽居闲趣相融，把秋林萧寺的冷寂清旷之境铺陈开来，尽显林泉幽致。",[7,209,23,1218,27,177,40142,105,5613,9908,108,109,176,34,107,175,468,1265],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa02d6c0b4b3f68794b7c75b2799f2.jpg","本幅 52.5x27.4公分、全幅 59.2x82公分",[],{"id":40147,"slug":40148,"title":40149,"dynasty":76,"author":4406,"museum":311,"description":40150,"tags":40151,"thumbUrl":40152,"material":139,"size":139,"collection":139,"collections":40153,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},224477,"fang-mei-dao-ren-shan-shui-tu-wang-jian-224477","仿梅道人山水图","此作用笔苍浑沉厚，取法梅道人山水意趣，层峦叠嶂铺陈高远之境，主峰巍峨雄峙，矾头苔点繁密，晕染出江南山峦郁茂华滋的温润质感。\n\n山坳村居错落，板桥卧波、溪流蜿蜒穿梭林麓间，林木疏密交织，将林泉幽居的隐逸意趣缓缓铺展。以披麻皴写山体肌理，湿墨点苔晕染空濛氛围，恪守古法的同时融入自身秀逸笔性，于苍劲间不失温润，既复刻出荒寒清寂的古雅意境，又暗含自家风骨，是师古能化的仿古佳作。",[7,23,173,177,105,225,29,176,35,34,109,108,263,866,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":40155,"slug":40156,"title":40157,"dynasty":76,"author":1215,"museum":311,"description":40158,"tags":40159,"thumbUrl":40160,"material":139,"size":139,"collection":139,"collections":40161,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},224428,"shan-lou-ke-hua-tu-wang-shi-min-224428","山楼客话图","《山楼客话图》是王时敏八十岁之后作品，创作于清代，现藏于天津市艺术博物。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n山峦层叠，深壑溪流，茂林密布，水阁立于其间，名士在此高谈阔论。\n此画以赭墨为主，单纯而深厚，滋润而清脱。\n从笔墨技法来看，复古意味十分明显，皴笔细密，用多层次的皴染表现山体，墨色厚重，流露出作者“熟不甜，生不涩，淡而厚，实而清”的成熟面貌。\n王时敏 ， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[7,23,24,225,173,177,29,107,34,176,466,35,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":40163,"slug":40164,"title":37218,"dynasty":76,"author":40165,"museum":311,"description":40166,"tags":40167,"thumbUrl":40168,"material":139,"size":139,"collection":139,"collections":40169,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":49},224344,"xiao-pin-1-qiao-gu-224344","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[7,23,24,225,27,28,106,150,60,783,1365,176,2279,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],{"id":40171,"slug":40172,"title":40173,"dynasty":76,"author":1929,"museum":311,"description":40174,"tags":40175,"thumbUrl":40176,"material":139,"size":139,"collection":139,"collections":40177,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},224296,"zhu-shi-li-shan-224296","竹石","此作用笔纵逸老辣，右上苍松虬曲古拙，枝干皴擦间尽显风霜古意，松针以焦墨攒点，苍劲沉凝，垂藤萦纡添灵动生机。下方牡丹以浓淡水墨晕染花瓣，将雍妍之态藏于墨色层次间，旁生兰草舒挺柔韧，伴湖石错落排布。\n左侧题笔与绘事浑然一体，以水墨写意尽脱匠气，融苍松之坚、牡丹之妍、幽兰之清于一轴，笔情墨趣间暗合文人寄寓，纵恣野逸间尽显花木风神。",[7,23,24,173,400,177,385,226,369,403,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a30ebfd3df6df1c8f56596df0822fa1.jpg",[],{"id":40179,"slug":40180,"title":40181,"dynasty":76,"author":278,"museum":311,"description":40182,"tags":40183,"thumbUrl":40184,"material":139,"size":139,"collection":139,"collections":40185,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":94},223664,"yong-zheng-di-du-shu-xiang-zhou-yi-ming-223664","雍正帝读书像轴","整作静谧雅致，帝王身着明黄吉服端坐暖阁，面庞清癯平和，目光轻落手中书卷，尽显松弛安然的书卷气，褪去了朝堂之上的威严肃杀。服色织绣精细繁复，龙纹婉转灵动，衣褶晕染自然，衬出面料华贵质感。两侧案头文房与装帧精美的古籍错落，点明读书主题，暖阁陈设素净柔和，烘托出静雅的伏案氛围。\n\n画家以细腻写实的笔触，捕捉下雍正鲜为人知的闲逸侧面，跳出帝王标准像的刻板范式，将其沉浸典籍的专注神态勾勒入微，在纪实之中融入雅致文人意趣，是清代御容像里极具生活意趣的上乘之作。",[7,23,225,27,28,106,5153,228,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35643af16a8eade2dd5994483bab96a0.jpg",[],{"id":40187,"slug":40188,"title":40189,"dynasty":189,"author":278,"museum":311,"description":40190,"tags":40191,"thumbUrl":40192,"material":139,"size":139,"collection":139,"collections":40193,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":49},223617,"hong-shu-xiao-niao-tu-li-zhou-yi-ming-223617","红树小鸟图立轴","此作用笔苍劲老辣，以淡墨皴擦出枝杆斑驳肌理，斜展的枝桠轻缀丹红叶瓣，晕染出深秋清寂淡远的氛围感。两只禽鸟灵动如生，一只敛羽侧目似在梳羽，一只昂首远眺仿佛聆风，翎毛晕染细腻柔和，褐棕羽色与亮蓝尾羽相映成趣，为萧疏秋景添了鲜活生气。\n画作兼收宋院体花鸟的写实精妙与元画的萧散简逸，以极简构图铺陈秋日林间意趣，不施浓艳重彩，只以素雅色调烘托幽清空远的意境，静穆秋景与鲜活禽鸟相融，淡而有味，简而隽永。",[7,23,24,225,27,28,83,7002,2850,926,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6756045513ed7addba3944ef1983d5b6.jpg",[],{"id":40195,"slug":40196,"title":40197,"dynasty":18,"author":278,"museum":311,"description":40198,"tags":40199,"thumbUrl":40200,"material":139,"size":139,"collection":139,"collections":40201,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},223612,"zhu-jian-fen-xiang-tu-yi-ming-223612","竹涧焚香图","此作以边角取景，笔墨简净秀润。浅渚涧水缓流，坡岸幽竹斜曳，士人趺坐石上，静对空山远岑。晕染轻淡的远山融在空濛烟岚里，将天地寥廓之意藏于尺幅留白间。\n\n画面与题诗相契，炉烟随竹风漫过山涧，空山阒寂，将闻未闻的幽玄禅意弥散开来。把林泉高致的隐逸襟怀，化作眼前清寂淡远的图景，于简淡平远中，尽显出世幽居的静穆禅趣，是小品山水里以小见大的精妙之作。",[7,23,24,1352,27,29,226,106,385,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52389ef17d1f2b63c69f1c05719db98a.jpg",[],{"id":40203,"slug":40204,"title":40205,"dynasty":18,"author":278,"museum":206,"description":40206,"tags":40207,"thumbUrl":40208,"material":302,"size":40209,"collection":181,"collections":40210,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},223446,"han-lin-lou-guan-yi-ming-223446","寒林楼观","表现冬日雪后树木萧瑟的景致，整幅作品设色淡雅，意境深幽，颇传宋人神韵。",[7,23,104,27,28,29,107,866,1423,176,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[181,163],{"id":40212,"slug":40213,"title":40214,"dynasty":54,"author":278,"museum":20,"description":40215,"tags":40216,"thumbUrl":40217,"material":40,"size":40218,"collection":139,"collections":40219,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},223443,"gong-yuan-tu-zhou-yi-ming-223443","宫苑图轴","此画一说为李思训所绘。远处崇山峻岭，山峰陡峭，山中殿阁亭榭林立，圆形，飞檐，造型不一，隐约可见人们穿梭其中。此图将山野之间的逸趣与宫殿的富丽完美地结合，是一幅极富装饰趣味的山水楼阁画佳作。",[7,209,23,225,104,27,29,107,10280,106,4901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80f5c5554e066d90eb3a659fa472502.jpg","162.5cm＊83.7cm",[],{"id":40221,"slug":40222,"title":40223,"dynasty":277,"author":278,"museum":1666,"description":40224,"tags":40225,"thumbUrl":40226,"material":573,"size":40227,"collection":139,"collections":40228,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},223391,"tong-nian-yin-yan-tu-zhou-yi-ming-223391","同年饮宴图轴","以淡墨晕染出空濛秋山，飞瀑穿云，江流宛转，枯笔皴擦山峦肌理，苍浑朴拙。画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因此称之为《流民图》亦可。",[7,23,24,25,244,27,106,11064,61,6545,18638,27236,14604,210,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纵28厘米，横384厘米",[],{"id":40340,"slug":40341,"title":40342,"dynasty":99,"author":18689,"museum":311,"description":40343,"tags":40344,"thumbUrl":40345,"material":699,"size":40346,"collection":139,"collections":40347,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},222164,"huai-su-shang-ren-cao-shu-ge-zhang-bi-222164","怀素上人草书歌","张弼(1425～1487年)字汝弼，晚号东海翁，松江华亭人。此卷书《任华〈怀素上人草书歌〉》，应是张弼传世最好的作品，它包含了张弼对僧怀素的钦敬，而且随着诗意的伸展，隐然把自己代入其中，成了诗中的主角。正如《自叙帖》是怀素草书一次淋漓尽致的表演，张弼亦借任华赞美怀素的诗句，把自己在狂草书上的成就尽情发挥。怀素耶，张弼耶，写到后来，明显有照花前后镜的狂喜了。\n任华，公元8世纪时人，活跃于唐玄宗时期，有《杂言寄李白》、《杂言寄杜拾遗》诗，与李白杜甫同时或稍晚。《怀素上人草书歌》通篇音韵铿锵，句法多变，三言、四言、五七言，缓急错落，随意所之，而且描写生动，使人如目睹怀素的狂草作品，跌荡纵横，动人心弦。此处介绍的手卷，乃明代张弼以狂草书录写，水墨纸本，淋漓酣畅，精彩动人，把任华诗中的境界、怀素草书的风貌及作书者本身对草书的狂热，结合在书法中，实为张氏传世作品中的颠峰之作。",[7,86,2570,25,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6dc27fb39e26b9da591ae48237e94e.jpg","31.5×526cm",[],{"id":40349,"slug":40350,"title":40351,"dynasty":189,"author":7821,"museum":9370,"description":40352,"tags":40353,"thumbUrl":40354,"material":20666,"size":40355,"collection":328,"collections":40356,"showCount":11,"zanCount":1337,"manualWeight":48,"mainColor":49},221835,"lao-ren-xing-fu-ke-jiu-si-221835","老人星赋","《上京宫词》是柯九思创作的一幅书法作品。\n《上京宫词》卷是柯九思在朝廷任职期间奉敕记载元文宗赏赐皇姑大长公主情状的诗，后录呈无言大禅师。\n此卷用笔纵击，富有弹力，其入纸处颇类著名北碑张玄墓志，俊美中露峭拔，平和中寓筋力。\n直点多作短竖，深得《兰亭序》“犹”字点意态；横画虽波磔不露，但多呈隶书笔致，又颇似褚遂良书风。\n《兰亭序》“天朗气清”的神韵，褚遂良“瑶台春林”的清丽同张玄墓志的俊俏笔意的结合，正是柯九思历观前代书迹后的自然流露。\n字形有长有扁，以扁为多。\n长字取纵势，挺拔而不松懈，扁字取横势，笃实而不呆板，既有钟繇《戎路》、《宣示》帖的体格，更有苏东坡“石压虾蟆”般的沉稳紧密。\n特别值得一提的是，长字同扁字虽各逞姿态，但又和谐协调，体现了美的多样统一。\n整体书风坦然清纯，字字挺立，体态舒朗，结体的纵横聚散恰倒好处，而笔势连贯，用笔挺拔爽健，富于弹性美和节律感，点画之形态随笔势的节奏而起伏，不无表现出肯定明确的法度。\n题目“上京宫词”四字，节奏均匀而稍缓，雍容典雅，悠长清丽，正合“宫词”意境。\n而正文的书写节奏，也同题目四字，大有宫廷气象。\n但作者在主调统一的前提下很注意局部的变化，如“伏”字、“多”字、“冷”字、“锡”字、“独”字、“暇”字以参用行书笔法变，“暑”字、“飘”字、“高”字、“日”字、“有”字、“立”字、“禾”字以加粗线条，加重墨色变，而在字形上则更以长扁互用变，这些变化在“平和”的水面上时泛涟漪，正契合了《上京宫词》的内容。\n它们产生的微刺激，也正符合了记号中的角色“九重”与“千官”们的心态。\n通篇节奏平和。\n柯九思在书写《上京宫词》卷时，对词意是有很深的感悟的。\n作为一位“鉴书博士”，他虽然也有积极思维的时候，但“闲暇”决不会少，也正因为如此，这书迹也应是“千官”之一的柯九思的“心画”。\n不过，书画对心态的反映毕竟是模糊的，“九重”的平和节奏会同“千官”的混同，“庙堂”的闲暇也难同“山林”的闲暇区分，也正因为如此，博学如何良俊者，也只好说柯九思的绘画似逸非逸、似神非神而难以名状了，对于更为抽象的书法当然更是如此。",[7,86,621,25,263,2547,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8950c49521b1c45b07c366f4d4502a.jpg","25cm*268cm",[328],{"id":40358,"slug":40359,"title":40360,"dynasty":189,"author":645,"museum":101,"description":40361,"tags":40362,"thumbUrl":40363,"material":527,"size":40364,"collection":139,"collections":40365,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},221785,"san-shi-ren-ma-tu-zhao-meng-fu-221785","三世人马图","为赵孟頫、赵雍、赵麟祖孙三人所画人马图合卷。卷后有陈洪绶等人题跋，谓其“三老不失笔墨宗风，古来大小李将军、高家父子、米家父子之类比。”、“古来父子祖孙以忠孝节义道应文学相传，不替者之类耳。”对比吴湖帆题款中所及“蒋氏密韵楼藏赵氏三世画马卷对临一本，并记原题款识于后，王蒙等跋亦入。”可见吴湖帆所临乃是另一卷传世“赵氏三世人马图”，由雪庭禅师收藏，王蒙、文征明等五家曾于其上题跋。",[7,209,23,24,25,27,244,106,150,178,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f2e833da4843b79c3641463d061b4a.jpg","纵30.2厘米，横178.1厘米",[],{"id":40367,"slug":40368,"title":27311,"dynasty":18,"author":7741,"museum":101,"description":40369,"tags":40370,"thumbUrl":40371,"material":67,"size":40372,"collection":42,"collections":40373,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":94},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[7,209,23,24,25,173,27,177,29,5727,9908,34,176,37,557,1423,866,1267,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[42,181,163],{"id":40375,"slug":40376,"title":40377,"dynasty":18,"author":676,"museum":101,"description":9128,"tags":40378,"thumbUrl":40379,"material":699,"size":40380,"collection":139,"collections":40381,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},221357,"zhuo-se-shi-ba-luo-han-tu-juan-li-gong-lin-221357","着色十八罗汉图卷",[7,209,23,24,25,243,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167d3053971be5b0a03db8dec8fa2736.jpg","26.7×384.2厘米",[],{"id":40383,"slug":40384,"title":40385,"dynasty":54,"author":278,"museum":311,"description":40386,"tags":40387,"thumbUrl":40389,"material":139,"size":139,"collection":328,"collections":40390,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":49},221118,"fo-jing-dian-lan-ran-se-zhi-yi-ming-221118","佛经靛蓝染色纸","靛蓝染纸褪去了初时鲜亮，晕出温柔褐调，纸面洒金星子点缀，暗生华贵。残卷唐楷法度端严，笔锋筋骨依旧清晰，墨色沉实沉静，带着写经特有的庄敬气韵。\n\n青褐织锦的莲纹缠枝古雅雍容，将残妥帖承托，织纹与染纸旧色相映成趣。边角虽被岁月磨蚀缺损，却如时光镌刻的印记，让纸面的虔诚笔墨更添厚重。断句残卷里，依旧藏着盛唐奉经的沉静端方，染纸余色与写经墨痕交织，化作跨越年岁的梵音回响，静静诉说旧时光里的信仰温度。",[7,5152,86,621,1116,243,5153,40388],"靛蓝染色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7aab4e82e17a524b405fa65438116bd.jpg",[328],{"id":40392,"slug":40393,"title":40394,"dynasty":99,"author":2494,"museum":20,"description":40395,"tags":40396,"thumbUrl":40397,"material":40398,"size":40399,"collection":328,"collections":40400,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":255},220957,"bai-yu-shan-fu-dong-qi-chang-220957","白羽扇赋","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。董其昌这件作品写于七十八岁（1632）高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[7,209,23,24,25,178,86,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2567439e23f4a801151c3d6db729acb.jpg","绫本，轴","纵长：136.5厘米，横长：60.2厘米",[328],{"id":40402,"slug":40403,"title":40404,"dynasty":99,"author":2494,"museum":8393,"description":40405,"tags":40406,"thumbUrl":40407,"material":67,"size":40408,"collection":328,"collections":40409,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},220899,"shu-du-gong-bu-shi-dong-qi-chang-220899","书杜工部诗","董其昌世称“董香光”、“董文敏”、“董华亭”，在明末以书画名重海内。行书以“二王”为宗，用笔精到，用墨讲究，布局闲适舒朗，神采风韵自足。\n董其昌是明代重要的画家、书法家。《明史》中称其：“自成一家，名闻外国，其画集宋元诸家之长行以己意，潇洒生动，非人力所及也。四方金石之刻，得其制作手书，以为二绝，造请无虚日，尺素短札流布人间，争购宝之。精于品题，收藏家得片语只字以为重。”\n董其昌的书法对后人的影响极大，康熙帝赞其：“天姿迥异，其高秀圆润之致流行于褚墨间，非诸家所能及也。 每于若不经意处丰神独绝，如微云卷舒，清风飘拂，尤得天然之趣。”董其昌作为学古而成的书家，其风格面貌的形成与其独特的学书观密切相关。\n在中国古代艺术理论中，一直有“师古”和“师心”的论争，各自从不同角度出发衍生出一整套艺术理论。董其昌在这个时期坚持“师古”观点，要求在对古代作品的临摹中锻炼自己的技法并深入领悟古人的精神内蕴。在这个过程中形成自己的风格，结合历史时代背景后，最终产生新的艺术风格。",[7,86,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9c1043aa026bf462ec1c1d0cf17a9c.jpg","横279cm，纵28.5cm",[328],{"id":40411,"slug":40412,"title":40413,"dynasty":99,"author":16949,"museum":7087,"description":40414,"tags":40415,"thumbUrl":40416,"material":10233,"size":40417,"collection":139,"collections":40418,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":139},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[7,23,24,25,173,29,177,30,6868,9728,174,266,34,176,1843],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","25.6 × 360.8厘米",[],{"id":40420,"slug":40421,"title":40422,"dynasty":949,"author":40423,"museum":40424,"description":40425,"tags":40426,"thumbUrl":40427,"material":40428,"size":139,"collection":139,"collections":40429,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},220511,"jing-guan-pu-xin-she-220511","景观","溥心畬","The Baltimore Museum of Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[7,24,23,29,225,173,27,177,734,385,384,434,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg","Ink and color on paper",[],{"id":40431,"slug":40432,"title":40433,"dynasty":204,"author":22476,"museum":206,"description":40434,"tags":40435,"thumbUrl":40436,"material":2916,"size":40437,"collection":44,"collections":40438,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},220248,"hui-lie-tu-hu-gui-220248","回猎图","胡瓌，范阳（河北涿县）人，或做山后契丹人，约活动于九、十世纪之间。精于描绘契丹之人马，凡帐棚、车辆、射猎器用、生活杂物及牲畜犬马，都形容备尽。本幅描写契丹族人，携鹰出猎之情景，人物着典型契丹族之衣冠，其猎鹰、座骑亦具特色。四只猎鹰中，三只可能是不同花色的海东青。鹫鹰科及隼科之鸟类，善猎者有数种，其中以海东青为极品，产地即在契丹之领域中，以善猎天鹅而闻名。马匹似有「裂耳犁鼻」之状，据云是当时契丹（辽金）人养育马匹的特殊方式：「…..谓鼻不破裂，则气盛冲肺。耳不裂，则风传而不闻音声…..」（注 1）。胡瓌喜用狼毫笔，借其挺健之笔毫绘制精致之作品。本幅即其精描细写之佳作，与院藏胡「回猎图」之画风及尺寸大小均相似，原属同一组之作 ，皆曾经宋徽宗收藏，画幅上遗有「宣和」半印。",[7,23,27,28,106,150,1422,9343,263,1519,4010,11846,38168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a84886fe554f046fcb60e0d99942b0b.jpg","全幅 43.5x121.7公分",[44],{"id":40440,"slug":40441,"title":40442,"dynasty":189,"author":278,"museum":1098,"description":40443,"tags":40444,"thumbUrl":40445,"material":123,"size":40446,"collection":181,"collections":40447,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},220049,"xue-shan-yun-lv-tu-yi-ming-220049","雪山运驴图","此作用淡墨晕染出冰封寒江与覆雪山峦，满目萧寒清寂。虬曲枯木扎根石隙，枝桠尽是冬日的荒疏萧索。空阔雪野间，一行驴队徐行缓进，为沉寂山野添上些许烟火暖意，动静相映，更衬出冬日林峦的清旷孤寒。\n\n画作以细劲线条勾勒山石林木轮廓，淡墨皴擦铺陈积雪，留白晕染巧构雪色，将北国冬雪的荒寒空灵尽数铺展，于极简取景间尽显淡远意趣，把冬日行旅的孤清况味藏入尺幅之间，引人身临其境，浸沉在这片凛凛寒意与静谧萧疏之中。",[7,209,23,24,1218,27,177,7577,6926,865,176,106,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3496e60237064d400653f83c3b0f63.jpg","25.1 x 25.9 cm",[181],{"id":40449,"slug":40450,"title":40451,"dynasty":99,"author":40452,"museum":1279,"description":40453,"tags":40454,"thumbUrl":40455,"material":123,"size":40456,"collection":181,"collections":40457,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[7,209,23,24,25,173,29,177,734,466,4656,34,114,37,558,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[181],{"id":40459,"slug":40460,"title":40461,"dynasty":76,"author":3827,"museum":20,"description":40462,"tags":40463,"thumbUrl":40464,"material":88,"size":40465,"collection":44,"collections":40466,"showCount":11,"zanCount":1337,"manualWeight":48,"mainColor":94},219211,"bing-xi-tu-jin-ting-biao-219211","冰戏图","冬季严寒萧瑟，景物单调，但是对于调皮贪玩的小孩来说依然不乏游戏项目。宫廷画家金廷标就为我们展现了这种一幅场景。十个小伙伴来到结冰的池塘边，胆大的几个先下到了冰面上，可是太滑了，一不小心就摔了个仰面朝天，想再站出来也不容易，只能尽力支撑着。而岸上的同伴则嬉笑着，跃跃欲试。\n金廷标是清乾隆时期最著名的宫廷画家之一，以人物画见长。他笔下的风俗人物质朴自然，贴近生活，情态生动，令观者心生亲切之感。",[7,23,27,28,106,4304,4141,34,1434,298,283,1629,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6864bf5a01739f77580c7a573b3b20.jpg","纵121厘米，横64.8厘米",[44],{"id":40468,"slug":40469,"title":40470,"dynasty":18,"author":278,"museum":206,"description":40471,"tags":40472,"thumbUrl":40473,"material":123,"size":40474,"collection":181,"collections":40475,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},218988,"pin-quan-tu-yi-ming-218988","品泉图","这幅画描绘了一个在峡谷中的有学问的人和一个提供茶水的童仆，而他摇着扇子喝茶。这幅画没有标记，以前被认为是宋代的作品，但宋代没有这种画风，动荡的笔法更接近明代的山水画风格。",[7,23,209,27,177,29,34,558,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bddcec30d211866d234b9bd05fadd1.jpg","27.5x57.4",[181],{"id":40477,"slug":40478,"title":40479,"dynasty":18,"author":278,"museum":132,"description":40480,"tags":40481,"thumbUrl":40482,"material":123,"size":40483,"collection":90,"collections":40484,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},218969,"ying-sun-lie-hu-tu-yi-ming-218969","鹰隼猎狐图","振翅俯冲的猛禽携风而下，惊惶奔窜的狐兽攒足欲逃，劲挺的枯枝斜出岩隙，丛丛劲草在荒坡间摇曳。笔墨于精微处见真章：禽鸟羽翮层次分明，狐兽肌理细腻传神，岩石皴擦苍劲老辣。荒野的萧瑟与捕猎的焦灼交织，一瞬张力被定格成永恒。宋人笔下的野趣，在动静相衔间流淌，于形神兼备中尽显自然生息的生动与凛冽，每一处线条都藏着对生命状态的精准捕捉，每片墨色都晕染出荒野间的原始张力。",[7,209,23,24,1352,27,28,808,266,229,29450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3bc526ab9976cefd9af3dab0639ec3.jpg","24x25cm",[90],{"id":40486,"slug":40487,"title":40488,"dynasty":189,"author":278,"museum":206,"description":40489,"tags":40490,"thumbUrl":40491,"material":123,"size":139,"collection":181,"collections":40492,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},218656,"xi-shan-ji-yu-yi-ming-218656","溪山积玉","雪覆层峦如积玉，淡墨晕染出远山的温软轮廓，却藏着冬日清寂。坡岸老柳垂丝，枝条似淡烟轻笼，笔意疏朗间见自然生趣。林间茅舍隐现，仿佛有暖意暗涌，与天地素净相映成趣。\n\n画面无喧嚣，只余山水静穆与生机暗涌——雪的冷、树的疏、屋的暖，在对比里藏着文人对山水的眷恋、对闲居的向往。笔墨不刻意求工，简淡中见深致，恰是元人山水意韵：以心观物，以笔写情，每一寸雪色都浸着悠然禅意，让观者于静谧中触到自然与人心的共鸣。",[7,23,24,81,173,27,29,384,175,109,177,866,451,1265,4970,7062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae9bfc8cfcf642803d8d009b93b445d.jpg",[181],{"id":40494,"slug":40495,"title":40496,"dynasty":99,"author":278,"museum":311,"description":40497,"tags":40498,"thumbUrl":40499,"material":123,"size":40500,"collection":44,"collections":40501,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},218613,"hua-jiu-tu-yi-ming-218613","话旧图","暖褐底色晕染出时光的沉香，画面中三人围坐对谈，姿态松弛自在。居中者执杯浅笑，两侧人物或捧卷凝听，或倾身应答，眉宇间漫溢着旧友重逢的暖意。案上器物雅致，背景树影婆娑，简淡笔触将闲寂氛围晕开。人物衣袂纹理细腻，神态鲜活如昨，似能听见席间低语。整幅画以古朴色调包裹旧友话旧的温情，在静谧中流淌岁月沉淀的醇厚，尽显中式雅集的闲逸况味。",[7,23,24,27,28,106,1641,300,34,939,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e668b85e53b7af5f00acbe03fda8b1.jpg","27x31",[44],{"id":40503,"slug":40504,"title":2423,"dynasty":18,"author":278,"museum":78,"description":40505,"tags":40506,"thumbUrl":40507,"material":409,"size":40508,"collection":44,"collections":40509,"showCount":11,"zanCount":2209,"manualWeight":48,"mainColor":49},218597,"lian-she-tu-yi-ming-218597","图绘东晋高僧慧远（334-416）于庐山结社故事，无作者款印，为南宋人据李公麟《莲社图》所作的摹本。画分九段，次序井然：一、乘舆者陶渊明，肩舆者其子、门生，童子一人；二、骑马者谢灵运，随侍两人；三、虎溪三笑，捉手相对者慧远、陆修静，旁立辟蛇行者，童子一人；四、设文殊金像赞颂佛事者三人，昙常、道昺、周续之；五、梵僧两人，旁立一耶舍；六、校经五人，刘程之、张诠、惠叡、惠持、惠永，手捧经笈者一人，童子一人，烹茶三人，汲水一人；七、游山两人，宗炳、昙顺。八、经筵会讲，讲说者道生，听讲者雷次宗、道敬、昙诜等；九、濯足者张野，童子一人。",[7,23,24,25,244,243,106,29,108,109,34,558,29350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227278cacb67723b82fe796fc37d2573.jpg","纵28.1厘米，横459.8厘米",[44],{"id":40511,"slug":40512,"title":40513,"dynasty":99,"author":278,"museum":447,"description":40514,"tags":40515,"thumbUrl":40516,"material":123,"size":40517,"collection":44,"collections":40518,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},218512,"shu-xia-du-shu-tu-yi-ming-218512","树下读书图","这幅画描绘了一个坐在树下溪边读书的高士，这种风格在明代的浙江画派、戴进和吴伟中很流行，但这幅画的笔法与吴伟相似，略显疲软。",[7,23,24,225,27,106,34,109,21382],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385b9aeb644037ac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山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[7,23,209,24,25,28,27,105,83,499,27421,266,926,176,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":40727,"slug":40728,"title":40729,"dynasty":189,"author":3051,"museum":311,"description":40730,"tags":40731,"thumbUrl":40732,"material":67,"size":40733,"collection":139,"collections":40734,"showCount":216,"zanCount":2209,"manualWeight":48,"mainColor":94},232884,"qun-xian-du-hai-tu-juan-qian-xuan-232884","群仙渡海图卷","八仙是中国民间传说中广为流传的道教八位神仙。\n八仙之名，明代以前说法不一，有汉代八仙、唐代八仙、宋元八仙，所列神仙各不相同。至明代吴元泰《东游记》始定为：铁拐李（李玄）、汉钟离（钟离权）、张果老（张果）、吕洞宾（吕岩）、何仙姑（何琼）、蓝采和（许坚）、韩湘子、曹国舅（曹景休）。",[7,23,25,27,106,243,16996,22594,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1473de61e41bb0fdef9334e4b6bf4dc.jpg","* 24.4x94cm",[],{"id":40736,"slug":40737,"title":40738,"dynasty":76,"author":9369,"museum":20,"description":40739,"tags":40740,"thumbUrl":40741,"material":1488,"size":40742,"collection":139,"collections":40743,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},232688,"mo-song-tu-zhou-zhao-zhi-qian-232688","墨松图轴","据画家自题，此图参用了篆、隶、草三体的书写技法来描绘松树，落笔圆浑滋厚，与作者的书法风格同一格调。树干、枝条、松针以草书笔法表现，秉承了文人画豪放洒脱的传统。画上行书落款笔力雄健遒劲，其金石韵味与松木的画法相映衬，意趣横生。此幅不愧为赵之谦以金石、书法入画的代表作。",[7,23,173,400,177,403,86,263,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fd887689ee93323c8e3eacf3173751.jpg","纵176.5厘米，横96.5厘米",[],{"id":40745,"slug":40746,"title":20185,"dynasty":189,"author":1442,"museum":6249,"description":40747,"tags":40748,"thumbUrl":40752,"material":699,"size":40753,"collection":139,"collections":40754,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},232639,"shui-zhu-ju-tu-ni-zan-232639","此图以青绿设色绘江南初秋景色。山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n按图上作者题款：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。因想像图此……” 知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[7,23,1218,2352,5780,770,38031,16044,8396,108,1082,557,40749,40750,3723,14097,40751,621,86,263,177],"水渚","仙居","幽冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":40756,"slug":40757,"title":40758,"dynasty":277,"author":278,"museum":311,"description":40759,"tags":40760,"thumbUrl":40761,"material":2164,"size":2165,"collection":139,"collections":40762,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},231793,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-niao-juan-yi-ming-231793","明清日本古画花鸟山水人物粉本-花鸟卷","此卷三段取景，意趣各别。首段紫茄垂枝，晕染柔和饱满，将蔬果的鲜活质感尽显无余。中段群芳错生，凤仙秾艳、牵牛幽蓝、鸡冠明黄，草间蜻蜓静立，工笔勾勒柔劲相济，淡彩敷色清润雅致，将花草舒展之姿描摹入微。末段坡泽野趣盎然，蛙类或跃或伏，紫藤垂缀如瀑，蜂蝶振翅穿梭，生机灵动。全卷笔致秀雅，兼具工细写生的精工与自然野逸之趣，淡墨轻色温润和谐，将四时小景的鲜活意趣融于长卷，尽显写生花鸟的雅致风神。",[7,23,24,25,27,28,83,284,940,7874,782,607,1629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9311663ccaeea82c7a495e62a25ee48c.jpg",[],{"id":40764,"slug":40765,"title":40766,"dynasty":277,"author":33955,"museum":311,"description":33956,"tags":40767,"thumbUrl":40768,"material":2164,"size":2165,"collection":139,"collections":40769,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},231747,"an-tu-tao-shan-shi-dai-song-lin-tu-ping-feng-di-yi-ping-zhang-gu-chuan-231747","安土桃山时代 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《秋溪钓艇图》绘一叶渔艇行于江中，有一翁于船尾垂钓，右边是茫茫江水，近处可见山石树木，而远处渐见山峦。\n整幅作品结构严整，笔墨清润，在浓郁浑厚的气韵中具有潇洒隽逸的格调",[7,23,27,29,174,109,34,867,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3c21778a859a2f0bf01a09c1d9a01b.jpg",[],{"id":40894,"slug":40895,"title":40896,"dynasty":18,"author":5346,"museum":311,"description":40897,"tags":40898,"thumbUrl":40899,"material":139,"size":139,"collection":139,"collections":40900,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},227941,"yun-shan-tu-juan-mi-you-ren-227941","云山图卷","以水墨晕染写就烟峦百态，峰岫浮沉在流岚雾霭之中，汀渚林木隐现于云水之间。不施勾勒皴擦，纯以墨色浓淡晕出山之体态，尽显江南山水氤氲空濛的烟雨气象。\n运笔简率萧散，信笔挥洒间便将润泽秀雅的江天景致铺展卷上。一叶孤舟泛于江上，更衬江天寥廓悠远，尽显“墨戏”的写意特质，于虚灵中藏沉厚，平淡里见悠远，将江南烟岚朝暮的朦胧诗意定格卷间，尽显寄兴笔墨的文人雅趣。",[7,23,24,25,173,177,29,2279,174,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0dedd99ab89fbc71fe9e1671080a2e.jpg",[],{"id":40902,"slug":40903,"title":40904,"dynasty":18,"author":12612,"museum":206,"description":40905,"tags":40906,"thumbUrl":40907,"material":712,"size":139,"collection":139,"collections":40908,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},227750,"feng-yan-zhan-juan-zhao-bo-su-227750","风檐展卷","本幅画傍山临水，庭院湖石点缀，长松修竹环抱，营造出文人理想燕居之室。亭内屏前设卧榻，漆桌上置书卷、瓷瓶、香炉，文士右持羽扇，左倚凭几，神态悠闲；左方仕女二人凭栏而立，右方两童手执茶具，趋步向亭。题签订为南宋画家赵伯骕（1124-1182），对幅书法则为乾隆御题。宋人强调「烧香、烹茶，挂画、插花，四般闲事」（见南宋《梦粱录》）。此帧小扇面，除了反映宋代文人品茶挂画的生活文化，更保留了宋代园林建筑及家具的造型特色，弥足珍贵。",[7,209,23,24,27,28,29,106,175,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92817d91df028c880aa3c02bbd0c810.jpg",[],{"id":40910,"slug":40911,"title":40912,"dynasty":18,"author":708,"museum":311,"description":40913,"tags":40914,"thumbUrl":40915,"material":139,"size":139,"collection":139,"collections":40916,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},227731,"yao-cen-yan-ai-tu-ye-xia-gui-227731","遥岑烟霭图页","暮色四围，烟岚沉沉，远方数峰缥缈，近处水石萦回，在空茫的背景中衬出树木的剪影一般的身姿。画家夏圭着意渲染出黄昏时分那微茫昏沉的感觉和诗意，犹如醉酒的微醺，令人着迷。",[7,23,173,177,81,29,1265,10361,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7af6ddb62a8cb81e7c3c1551de268c7.jpg",[],{"id":40918,"slug":40919,"title":40920,"dynasty":18,"author":1677,"museum":206,"description":40921,"tags":40922,"thumbUrl":40923,"material":139,"size":139,"collection":139,"collections":40924,"showCount":216,"zanCount":2209,"manualWeight":48,"mainColor":94},227636,"bing-zhu-ye-you-tu-ma-lin-227636","秉烛夜游图","《宋马麟秉烛夜游图》是宋代画家马麟创作的一幅古画。\n\n朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[7,209,23,24,1004,27,104,107,106,34,29,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35159932efb51b829eecc61539b4cc0.jpg",[],{"id":40926,"slug":40927,"title":40928,"dynasty":18,"author":676,"museum":311,"description":26299,"tags":40929,"thumbUrl":40930,"material":139,"size":139,"collection":44,"collections":40931,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},227605,"long-mian-shan-zhuang-tu-er-ju-bu-li-gong-lin-227605","龙眠山庄图二（局部）",[7,209,23,24,244,29,106,176,34,3024,4432,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae494a47b809a3618a60d989e4610588.jpg",[44],{"id":40933,"slug":40934,"title":40935,"dynasty":18,"author":461,"museum":311,"description":40936,"tags":40937,"thumbUrl":40938,"material":139,"size":139,"collection":139,"collections":40939,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},227496,"xue-shan-tu-ye-fan-kuan-227496","雪山图页","《雪山萧寺图》是北宋画家范宽创作的一幅中国画。该幅画表现雪中山水的代表作品，构图不同于其他作品。画中山石树木直现于幅前，不留空间，让观赏者觉得有一股寒气袭来的身临其境感。群山簇拥，直指天空，深深的沟壑中，密林隐藏着萧寺，丛岩叠嶂中，“溪出深虚，水若有声”。由近而远堆叠的山峦，“折落有势”，山下寒树苍劲坚挺，势如铁帚，显示出范宽“写山真骨”，“与山传神”的精湛技艺。",[7,209,23,24,81,173,27,177,29,7577,229,866,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323a384e10f929ca675c2d84c6b715b5.jpg",[],{"id":40941,"slug":40942,"title":40943,"dynasty":18,"author":40944,"museum":311,"description":40945,"tags":40946,"thumbUrl":40947,"material":139,"size":139,"collection":139,"collections":40948,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},227436,"han-lin-ju-qin-tu-gao-dao-227436","寒林聚禽图","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[7,209,23,225,27,83,29,1776,865,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6da4737cf94d671b6dcd49e048fb69f.jpg",[],{"id":40950,"slug":40951,"title":40952,"dynasty":54,"author":3797,"museum":311,"description":40953,"tags":40954,"thumbUrl":40955,"material":139,"size":139,"collection":139,"collections":40956,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},227079,"yu-ren-cheng-ma-tu-ming-mo-ben-han-gan-227079","圉人呈马图（明摹本）","韩斡《 圉人呈马图》，生动地表现了骏马的体态神情，准确、简炼，真实。牧马人的形象也威武生动。从画风来看，牧马人两腮胡须，体格高大肥壮，是为胡人相貌;马匹神骏雄健，属来自西域之品种。在造形上，黑白二马健硕丰满，生动逼真，但在线条的描绘上却是细致流畅。",[7,23,209,24,25,105,27,106,150,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b526faf361dadc7a0848f07e8fe74aa.jpg",[],{"id":40958,"slug":40959,"title":40960,"dynasty":76,"author":21699,"museum":311,"description":34680,"tags":40961,"thumbUrl":40962,"material":139,"size":139,"collection":139,"collections":40963,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},226632,"si-shi-shan-shui-05-pu-ru-226632","四时山水05",[7,23,173,177,29,1365,176,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1a4e3f15c64dc930ae6a157ad9e18.jpg",[],{"id":40965,"slug":40966,"title":40967,"dynasty":277,"author":34092,"museum":311,"description":34093,"tags":40968,"thumbUrl":40969,"material":2164,"size":2165,"collection":139,"collections":40970,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},225294,"pi-sha-men-tian-ben-dong-jing-zhen-hai-225294","毗沙门天(本-东京)",[7,244,225,243,106,2508,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb557f9a0d99f73d9774c80230de36a19.jpg",[],{"id":40972,"slug":40973,"title":40974,"dynasty":76,"author":9090,"museum":311,"description":40975,"tags":40976,"thumbUrl":40978,"material":139,"size":139,"collection":139,"collections":40979,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224588,"mo-song-yuan-hua-liu-xia-xiong-ji-zhou-zou-yi-gui-224588","橅宋苑画榴下雄鸡轴","此作用色明妍雅致，雄鸡独立石上，红冠华羽，昂首睨视，尽显轩昂神气。榴花似火缀于枝桠，与素白百合、娇柔萱花相映，浓烈与清柔交织，层次丰盈。灵透湖石立旁，皴秀古雅，衬得花木禽鸟更见鲜活生机。\n\n工笔绘就却无板滞之感，禽鸟羽毛晕染细腻毫微，花枝俯仰有情，尽显精工雅致。搭配题诗，将雄鸡傲岸品格融于笔端，物性文思相合，构图疏密得宜，静雅鲜活相融，铺展出祥瑞清和的悠然意境，尽显雅致雍容的花鸟意趣。",[7,23,24,225,28,27,83,4760,40977,989,283,105],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],{"id":40981,"slug":40982,"title":40983,"dynasty":76,"author":963,"museum":311,"description":40984,"tags":40985,"thumbUrl":40986,"material":139,"size":139,"collection":139,"collections":40987,"showCount":216,"zanCount":2209,"manualWeight":48,"mainColor":94},224518,"shan-shui-tu-ce-8-kai-5-zhang-da-qian-jiu-cang-shi-tao-224518","山水图册8开-5-张大千旧藏","这幅画以板桥通幽开篇，苍虬古木引向临渊茅舍，二人松下晤谈，岸柳轻拂添了灵动生机。远景群峰用枯涩皴笔写就，墨色干湿浓淡交织，于简淡勾勒间见出层峦雄浑之态。\n整幅以笔意载山乡幽怀，将林下隐逸的桃源意趣藏于尺幅。题字纵逸朴拙，与山水笔墨浑然相合，不见雕琢之痕。观之如踏入烟岚溪山，俗虑尽消，尽显笔底丘壑的林下清趣。",[7,209,23,24,81,173,177,29,384,106,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db64bd599b59aa160742e31ee3c7ca.jpg",[],{"id":40989,"slug":40990,"title":40991,"dynasty":76,"author":963,"museum":311,"description":40992,"tags":40993,"thumbUrl":40994,"material":139,"size":139,"collection":139,"collections":40995,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224506,"shan-shui-ce-kai-shi-yi-shi-tao-224506","山水冊开(十一)","淡墨晕染江天，烟霭轻笼远山，将春日春江晕染得愈发空濛柔婉。岸侧垂柳疏条袅袅，几只禽鸟栖止枝头，清寂中又添几分灵动生机。江心孤帆半展，随波缓行，似载着晚春归人，悠悠划入淡远烟波之中。\n整幅画作笔墨简淡空灵，不着浓艳色彩，以写意之笔勾勒出江乡暮春的闲散幽寂。题诗与画境浑然相融，把春昼悠长的慵懒恬然藏在浅淡笔墨间，寥寥数笔便将悠远空寂的江天胜境铺展开来，尽显雅致文心。",[7,23,24,81,173,177,29,174,109,266,1423,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a05b280c06a6313490c10405c040edb.jpg",[],{"id":40997,"slug":40998,"title":40999,"dynasty":76,"author":963,"museum":311,"description":41000,"tags":41001,"thumbUrl":41002,"material":139,"size":139,"collection":139,"collections":41003,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224498,"shan-shui-ce-kai-qi-shi-tao-224498","山水冊开(七)","此作用淡青晕染远山，朦胧如含烟笼雾，留白湖面恰似空濛烟波，汀渚苇草轻曳，将江渚清寂铺陈开来。近坡以浓墨点苔，苍润朴拙，村居隐于繁荫之下，檐下仿佛有幽人对坐，暗合题诗里的江村闲意。\n行书题跋错落排布，与水墨山水相融相生，笔墨随性却章法自洽。将江南野居的清寂诗意晕染纸上，淡而不薄，简而不空，把文人幽居寄情山水的意趣藏在每一处皴擦点染里，观之如临无人烟渚，坐忘林泉，尽得山野闲逸之味。",[7,23,173,81,177,27,29,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61e210656cf02ca4c403e9a8efe90f9.jpg",[],{"id":41005,"slug":41006,"title":41007,"dynasty":76,"author":1215,"museum":311,"description":41008,"tags":41009,"thumbUrl":41010,"material":139,"size":139,"collection":139,"collections":41011,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[7,23,24,225,1218,177,173,27,29,1365,466,37,176,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":41013,"slug":41014,"title":41015,"dynasty":76,"author":15455,"museum":311,"description":41016,"tags":41017,"thumbUrl":41018,"material":139,"size":139,"collection":139,"collections":41019,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224255,"tao-yuan-tu-cha-shi-biao-224255","桃园图","此作用笔松秀简淡，以浅绛设色晕染出桃源幽境。左侧村舍错落隐于林樾间，田陇横斜延展，数位乡贤执礼晤谈，稚童随行、家犬嬉游，晕开融融烟火意趣。右侧崖壁清峭苍古，松枝偃仰遒劲，江流宛转萦回，扁舟静泊汀岸，淡施花青赭石点染枝梢，晕开春日柔润清和。\n全画以留白衬出空寂幽远的氛围，将林泉静穆与村居恬和相融，把文人心中避世归乡的桃源理想，化作可感的山水村居图景，尽显萧散简远的审美意趣。",[7,23,24,25,173,177,29,106,35,34,1365,264,174,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ee26c49185665d7885d138604cf597.jpg",[],{"id":41021,"slug":41022,"title":41023,"dynasty":76,"author":25243,"museum":311,"description":41024,"tags":41025,"thumbUrl":41026,"material":139,"size":139,"collection":139,"collections":41027,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224168,"zhu-ju-tu-zhou-xi-gang-224168","竹菊图轴","画面以山水衬花木，竹枝挺秀于右上角，涧水蜿蜒穿石而过，丛菊沿溪盛放，白花墨叶相互映衬。山石以淡墨皴擦留白作泉流，笔致松秀灵动，菊花以细笔勾勒花瓣，淡墨晕染花叶，清妍雅致。\n\n行书长题与画作相映，寄寓爱菊慕寿的文人雅趣。整体意境清寂高旷，将花木清隽与山水静逸融为一体，淡墨浅彩间尽显幽淡冲和的林下之风，是文人花鸟画中诗画合璧的逸品。",[7,23,24,225,27,177,226,407,109,176,62,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc656bde3d4ac43914a891d3b7e6eef.jpg",[],{"id":41029,"slug":41030,"title":41031,"dynasty":76,"author":7373,"museum":206,"description":41032,"tags":41033,"thumbUrl":41034,"material":712,"size":41035,"collection":90,"collections":41036,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224117,"kai-tai-shuo-bing-san-yang-kai-tai-tu-juan-qian-long-224117","开泰说并三阳开泰图卷","是清代乾隆弘历的亲笔图，该幅是摹仿收藏于台北故宫博物院明宣宗（1399－1435）与郎世宁（1688－1766）同名之作。该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作",[7,209,23,24,25,173,178,263,86,808,6545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0619277c0f73ea795b19279dee6e8c7f.jpg","27.7×63厘米",[90,163],{"id":41038,"slug":41039,"title":41040,"dynasty":18,"author":278,"museum":20,"description":41041,"tags":41042,"thumbUrl":41044,"material":40,"size":41045,"collection":42,"collections":41046,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},223605,"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 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lor":94},287800,"bai-miao-shi-liu-luo-han-du-hai-tu-quan-juan-li-gong-lin-287800","白描十六罗汉渡海图全卷",[7,209,23,24,25,244,106,243,18311,22594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5846b072dac1a1ebe3f98ac15e906cf4.jpg",[],{"id":41708,"slug":41709,"title":41710,"dynasty":76,"author":12204,"museum":311,"description":41711,"tags":41712,"thumbUrl":41714,"material":2164,"size":2165,"collection":139,"collections":41715,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":94},287443,"mo-yan-li-ben-xiao-yi-zhuan-lan-ting-tu-ding-guan-peng-287443","摹阎立本萧翼赚兰亭图","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[7,23,25,24,244,27,2158,105,41713,15996,1112,3609,4361,32793,263,86],"萧翼赚兰亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5e4507f97cac7a1fafa57455dce2a.jpg",[],{"id":41717,"slug":41718,"title":25060,"dynasty":204,"author":25061,"museum":311,"description":41719,"tags":41720,"thumbUrl":41721,"material":2164,"size":2165,"collection":139,"collections":41722,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":49},287430,"fan-bu-xue-wei-tu-juan-hu-qian-287430","镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[7,209,23,24,25,27,106,150,9308,8437,2019,865,33484,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2666de7fd20238ba4a96ca82410b4f.jpg",[],{"id":41724,"slug":41725,"title":41726,"dynasty":99,"author":278,"museum":311,"description":41727,"tags":41728,"thumbUrl":41730,"material":2164,"size":2165,"collection":139,"collections":41731,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":49},287407,"xiao-niao-shan-tao-tu-ye-yi-ming-287407","小鸟山桃图页","此作工致秀雅，虬曲桃枝缀挂饱满仙桃，青绿叶片分染出阴阳向背，古绢虽有斑驳残损，却晕开岁月沉韵。\n\n两只禽鸟相依枝上，一只昂首啁啾，似在啼鸣报春，一只垂首理羽，尽显亲昵安然。翎毛晕染细腻入微，蓬松柔润的质感呼之欲出，红羽蓝翅鲜亮点缀，让禽鸟更显灵动逼真。整体设色妍丽沉稳，笔致纤细工巧，将果枝的盎然生机与禽鸟的闲适情态相融，静中生趣，把春日枝桠间的鲜活意趣定格绢上，尽显传统花鸟的雅致意韵。",[7,23,28,27,83,4850,41729,266,6739],"山桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca64cae1386e454b8b64cf512412a1ff.jpg",[],{"id":41733,"slug":41734,"title":41735,"dynasty":204,"author":3687,"museum":311,"description":23836,"tags":41736,"thumbUrl":41737,"material":2164,"size":2165,"collection":139,"collections":41738,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},287393,"xie-sheng-yuan-yang-tu-ye-huang-quan-287393","写生鸳鸯图页",[7,1352,23,209,28,27,83,2053,865,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a845abda755731af042149ceeda528.jpg",[],{"id":41740,"slug":41741,"title":41742,"dynasty":204,"author":14070,"museum":311,"description":41743,"tags":41744,"thumbUrl":41745,"material":2164,"size":2165,"collection":139,"collections":41746,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},287371,"luo-han-tu-li-zhou-guan-xiu-287371","罗汉图立轴","贯休（832年-912年），俗姓姜，字德隐，婺州兰溪（今浙江省兰溪市）人。唐末五代时期前蜀画僧、诗僧。\n贯休七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为“禅月大师”，赐以紫衣。\n贯休能诗，诗名高节，宇内咸知。尝有句云：“一瓶一钵垂垂老，万水千山得得来，”时称“得得和尚”。有《禅月集》存世。亦擅绘画，尤其所画罗汉，更是状貌古野，绝俗超群，笔法坚劲，人物粗眉大眼，丰颊高鼻，形象夸张，所谓“梵相”。在中国绘画史上，有着很高的声誉。存世《十六罗汉图》，为其代表作。",[7,23,209,225,243,106,18311,173,244,403,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F850f415514c5b17c276f65fbf2f02b43.jpg",[],{"id":41748,"slug":41749,"title":41750,"dynasty":204,"author":3687,"museum":311,"description":23836,"tags":41751,"thumbUrl":41752,"material":2164,"size":2165,"collection":139,"collections":41753,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":94},287307,"cui-zhu-cao-chong-tu-juan-huang-quan-287307","翠竹草虫图卷",[7,209,23,24,25,83,28,226,511,86,178,621,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d53909ea73552937b92b2443bc246.jpg",[],{"id":41755,"slug":41756,"title":41757,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":41758,"thumbUrl":41759,"material":2164,"size":2165,"collection":139,"collections":41760,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":49},283713,"zhou-jin-tang-tu-bing-shu-ji-juan-dong-qi-chang-283713","昼锦堂图并书记卷",[7,209,23,24,25,2570,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa79adb9493bdbd017a01b352f912a3a0.jpg",[],{"id":41762,"slug":41763,"title":39439,"dynasty":18,"author":3584,"museum":311,"description":41764,"tags":41765,"thumbUrl":41767,"material":2164,"size":2165,"collection":139,"collections":41768,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":629},283635,"lin-lan-ting-xu-zhao-gou-283635","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。\n大观元年五月（1107年6月），生于宫中，天性聪明，博闻强记，拜检校太尉、定武军节度使。靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。康王赵构即位于南京应天府（今河南省商丘市），建立南宋。在位期间，迫于形势民心，任用岳飞、韩世忠等主战派将领抗击金军，重用主和派的黄潜善、汪伯彦、王伦、秦桧等人，一味求和，处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣。绍兴三十二年（1162年），禅位于皇太子赵昚，尊号“光尧寿圣宪天体道性仁诚德经武纬文绍业兴统明谟盛烈太上皇帝”。淳熙十四年（1187年），崩于德寿宫，时年八十一岁，成为中国历史上少有的长寿帝王之一，谥号“圣神武文宪孝皇帝”，庙号高宗。宋光宗绍熙二年（1191年），累谥“受命中兴全功至德圣神武文昭仁宪孝皇帝”。\n赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《洛神赋》（草书）等。",[7,209,24,86,620,622,105,621,263,41766],"兰亭序","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c677d621917a0640394530eaa3a9f85.jpg",[],{"id":41770,"slug":41771,"title":38568,"dynasty":99,"author":38569,"museum":20,"description":41772,"tags":41773,"thumbUrl":41774,"material":3071,"size":41775,"collection":328,"collections":41776,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":94},241154,"tong-ling-guan-tie-chuan-ge-juan-wang-shou-ren-241154","释文:\n铜陵观铁船，录寄士洁侍御道，契见行路之难也。青山滚滚如奔涛，铁船何处来停桡。人间刳木宁有此，疑是仙人之所操。仙人一去已千载，山头日日长风号。船头出土尚仿佛，后冈有石云船稍。我行过此费忖度，昔人用心无己忉。由来风波平地恶，纵有铁船还未牢。秦鞭驱之不能动，奡力何所施其篙。我欲乘之访蓬岛，雷师皷舵虹为缫。弱流万里不胜芥，复恐驾此成徒劳。世路难行每如此，独立斜阳首重搔。\n署款：“阳明山人书于铜陵舟次，时正德庚辰春分献俘还自南都。”钤印“阳明山人王伯安印”。\n鉴藏印有“林□周印”、“杜是鉴藏书画之印”、“杜是收藏书画”、“星衍”、“伯渊审定真迹”。\n此书是王守仁在铜陵献俘后回南都的舟中所作，由“铁船”引发出内心感慨，感叹人生道路的坎坷，时年49岁。\n作品每行以三个字居多，行间疏朗，字间互不连属，但每个单字却牵丝不断，如“观”、“洁”、“难”等。通篇字体修长，行笔快捷，骨力内涵，豪放中见沉着，遒劲中见秀丽，有米芾书法“沉着飞翥”的神韵。徐渭曾云：“古人论右军以书掩其人，新建乃不然，以人掩其书。”",[7,86,178,25,173,29,38572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85fe9447d0f222fefa21325307366f7d.jpg","纵31.5厘米，横771.8厘米",[328],{"id":41778,"slug":41779,"title":41780,"dynasty":99,"author":41781,"museum":311,"description":41782,"tags":41783,"thumbUrl":41784,"material":139,"size":139,"collection":139,"collections":41785,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":94},234216,"bai-miao-jiu-ge-tu-juan-wu-gui-234216","白描九歌图卷","吴桂","《九歌》是屈原《楚辞》的篇名之一。此《九歌图》卷由元代张渥绘，褚奂隶书题词。画卷依次描绘了《九歌》的十一篇：东皇太一、云中君、湘君、湘夫人、大司命、少司命、东君、河伯、山鬼、国殇、礼魂。此卷现藏于美国克利夫兰艺术博物馆，约绘于元至正二十一年，拖尾有陆时化、叶恭绰、吴湖帆、吴华源、徐邦达等人跋。",[7,23,24,25,244,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b4805ad4afd40f680d4258ef202e2b.jpg",[],{"id":41787,"slug":41788,"title":41789,"dynasty":18,"author":1699,"museum":206,"description":22878,"tags":41790,"thumbUrl":41791,"material":699,"size":41792,"collection":139,"collections":41793,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":49},232783,"yang-zheng-tu-juan-yi-liu-song-nian-232783","养正图卷一",[7,209,23,24,25,28,27,104,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ba766b8433f57a3fb63e40cb7d3497.jpg","30*322.97厘米",[],{"id":41795,"slug":41796,"title":41797,"dynasty":277,"author":278,"museum":311,"description":41798,"tags":41799,"thumbUrl":41800,"material":2164,"size":2165,"collection":139,"collections":41801,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},231686,"ping-an-shi-dai-hou-qi-fu-nie-pan-tu-er-yi-ming-231686","平安时代后期 佛涅槃图二","佛陀右胁安卧于娑罗双树间，神色静定无波，躯体舒展柔和，尽显圆寂时的超脱淡然。周遭诸天圣众、佛门弟子环伺垂立，或垂首哽咽，或俯身哀恸，神态各异，将天人同悲的沉恸尽数铺陈。\n\n古旧斑驳的底色里，朱红石绿虽已黯淡，仍可窥见昔年设色的厚重庄严。画面以静穆的涅槃之姿，衬以群像的悲恸哀戚，在动静反差间，诠释寂灭的圆满与送别者的不舍，尽显这类题材特有的悲悯与庄严。",[7,23,209,243,27,106,34,266,866,1423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4255253992ef4343df6460318aa80d0.jpg",[],{"id":41803,"slug":41804,"title":41805,"dynasty":277,"author":278,"museum":311,"description":8352,"tags":41806,"thumbUrl":41807,"material":2164,"size":2165,"collection":139,"collections":41808,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},231685,"song-tu-yuan-tian-qiu-yuan-fu-tan-jian-zhang-bi-hua-yi-ming-231685","松图原天球院佛坛间障壁画",[7,538,27,28,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e293b4dce986e9a1c4fd3f08a47c45.jpg",[],{"id":41810,"slug":41811,"title":41812,"dynasty":99,"author":278,"museum":9826,"description":41813,"tags":41814,"thumbUrl":41815,"material":139,"size":139,"collection":139,"collections":41816,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[7,23,173,27,29,177,285,1365,176,106,150,770,109,37,34,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":41818,"slug":41819,"title":41820,"dynasty":99,"author":23514,"museum":311,"description":41821,"tags":41822,"thumbUrl":41824,"material":139,"size":139,"collection":139,"collections":41825,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},231016,"ju-shi-ming-qin-tu-li-yin-231016","菊石鸣禽图","《菊石鸣禽图》写山坡之上的奇石旁，秋菊盛开，一枯枝高挑，其上小雀正回头顾盼，呜叫声声。\n画中充分体现了李因笔力雄健苍劲、水墨挥洒淋漓的特点。\n坡面及奇石以淡墨渲染，质感丰富。\n菊花写意生动，用笔酣畅。\n小鸟造型准确，兼工带写，笔法细致。\n《菊石鸣禽图》是中国清代画家 的国画作品。\n该画为立轴，绫本，墨笔，纵129．4厘米，横47．8厘米，旅顺博物馆藏。\n李因（1616—1685），清代女画家。\n字今是，又字今声，号是庵，又号龛山逸史，浙江钱塘（今杭州）人。\n留寓海宁。\n画家葛徵奇之妾。\n她能诗能画，善山水、花鸟，亦工芦雁。\n画得陈淳之法，多用水墨，苍劲无闰阁气。\n其夫每加以题跋，常云：“花鸟我不如姬，山水姬不如我。\n”可见其花鸟画在山水画之上。\n葛去世后，李因以卖画为生。\n有《竹笑轩吟草续稿》存世。\n传世作品有《菊石鸣禽图》、《芙蓉鸳鸯图》等。",[7,209,23,225,173,83,407,385,41823],"鸣禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3607d5341dc4c30287b5215604dfbf0d.jpg",[],{"id":41827,"slug":41828,"title":41829,"dynasty":277,"author":41830,"museum":311,"description":41831,"tags":41832,"thumbUrl":41836,"material":2164,"size":2165,"collection":139,"collections":41837,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":94},230582,"an-tu-tao-shan-shi-dai-qin-qi-shu-hua-tu-ping-feng-di-1-ping-hai-bei-you-song-230582","安土桃山时代 琴棋书画图屏风第1屏","海北友松","海北 友松（かいほう ゆうしょう、天文2年（1533年） - 慶長20年6月2日（1615年6月27日））は、安土桃山時代から江戸時代初期にかけての絵師。海北派の始祖。",[7,299,27,173,5310,41833,9766,41834,106,7012,41835],"棋","画","桃山风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300ac58f010c9d92aba1a89eee999744.jpg",[],{"id":41839,"slug":41840,"title":41841,"dynasty":76,"author":20050,"museum":311,"description":41842,"tags":41843,"thumbUrl":41844,"material":2164,"size":2165,"collection":139,"collections":41845,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":255},230290,"shu-fa-dui-lian-ceng-guo-fan-230290","书法对联","曾国藩（1811年11月26日－1872年3月12日），初名子城，字伯涵，号涤生 ，宗圣曾子七十世孙。中国晚清时期政治家、战略家、理学家、文学家、书法家 ，湘军的创立者和统帅。\n曾国藩出生普通耕读家庭，自幼勤奋好学，6岁入塾读书。8岁能读四书、诵五经，14岁能读《周礼》《史记》《文选》。道光十八年（1838年）中进士，入翰林院，为军机大臣穆彰阿门生。累迁内阁学士，礼部侍郎，署兵、工、刑、吏部侍郎。与大学士倭仁、徽宁道何桂珍等为密友，以“实学”相砥砺。太平天国运动时，曾国藩组建湘军，力挽狂澜，经过多年鏖战后攻灭太平天国。其一生奉行为政以耐烦为第一要义，主张凡事要勤俭廉劳，不可为官自傲。他修身律己，以德求官，礼治为先，以忠谋政，在官场上获得了巨大的成功。",[7,86,7024,178,225,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f9213c33205e6a0ffda83025ecfe4a.jpg",[],{"id":41847,"slug":41848,"title":41849,"dynasty":18,"author":418,"museum":311,"description":41850,"tags":41851,"thumbUrl":41852,"material":139,"size":139,"collection":139,"collections":41853,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},230166,"shui-qin-tu-juan-zhao-ji-230166","水禽图卷","此卷以淡墨勾勒晕染，一对鸳鸯悠游清波，翎毛纹理纤毫毕现，翅羽灵动舒展，柔波随漾尽显缱绻。右侧汀渚之上，野花莠草错落横生，野趣盎然。\n\n卷首题字清隽秀挺，与题跋诗文呼应画意，墨色温润雅致。整作工致写实兼具写意空灵，将水禽相依的情态与郊野水畔的幽谧生机融为一体，静雅之中暗藏灵动鲜活，尽显宋画雅致清和的意趣，是工写相融的精妙佳构。",[7,23,24,25,28,27,83,924,314,926,23785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87932b955e2126b5dfaa51f8b1ed5b54.jpg",[],{"id":41855,"slug":41856,"title":41857,"dynasty":76,"author":34544,"museum":311,"description":34545,"tags":41858,"thumbUrl":41859,"material":2164,"size":2165,"collection":139,"collections":41860,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":94},230136,"lin-mi-fei-pai-pin-yi-wei-ai-xin-jue-luo-xuan-ye-230136","临米芾（拍品疑伪）",[7,86,178,105,263,225,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08abe9b0d1b45a0e2b049510cb17c466.jpg",[],{"id":41862,"slug":41863,"title":41864,"dynasty":99,"author":278,"museum":311,"description":41865,"tags":41866,"thumbUrl":41867,"material":139,"size":139,"collection":139,"collections":41868,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},228918,"he-tang-shuang-lu-tu-yi-ming-228918","荷塘双鹭图","画面饱满铺陈，粉荷或绽苞或盛放，枯荣荷叶交错层叠，蒲草芙蕖错落其间，尽显盛夏荷塘的蓬勃野趣。两只白鹭娴静错落，一只昂首远眺，一只曲颈理羽，将幽寂安然的意趣藏在留白里。\n古绢底色晕染出沉雅氛围感，设色柔和雅致，禽鸟素白羽翼与粉荷暖色相互映衬，蜻蜓水鸟掠飞其间，为静谧荷塘添灵动生机。工写兼施，花鸟刻画细致入微，草木晕染写意空灵，将江南水泽的清宁诗意凝于绢素，藏着澹泊闲静的池居幽情。",[7,23,209,24,225,27,28,83,227,137,4207,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d11c6095b8c54fa3490081eeda3ec70.jpg",[],{"id":41870,"slug":41871,"title":41872,"dynasty":99,"author":817,"museum":311,"description":41873,"tags":41874,"thumbUrl":41875,"material":139,"size":139,"collection":139,"collections":41876,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":94},228874,"gu-song-tu-wen-zheng-ming-228874","古松图","此作用笔苍秀老辣，古松盘虬屈曲，躯干以淡墨皴擦晕染，尽显嶙峋斑驳的百年肌理。留白勾出枯槎如银铁之骨，横斜扭转间尽露倔强姿态。松针以焦墨攒簇锋芒毕现，如寒戟森森，满溢凌然风骨。\n\n左侧题字笔意清劲挺拔，与画中奇松相得益彰，书画合璧。整幅以素净纸色衬出古松孤高，水墨洗练却真气弥满，将古松岁寒不凋的君子品格刻画得入木三分，尽抒孤傲清刚的文人意趣。",[7,23,24,25,173,177,403,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dec8a1811c9c694ad2963a886ad04d.jpg",[],{"id":41878,"slug":41879,"title":41880,"dynasty":99,"author":3839,"museum":311,"description":41881,"tags":41882,"thumbUrl":41883,"material":139,"size":139,"collection":139,"collections":41884,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":49},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","画面以淡墨晕染出清寂冬山，古松虬枝横斜，苍劲老辣。寒溪蜿蜒穿谷，水波轻漾间漾出幽冷空茫。曳杖文士缓行山径，衣袂翩然尽是闲适从容，侍童抱琴紧随其后，将文人携琴探梅的雅兴藏于萧寒丘壑。\n\n笔墨洗练疏朗，山水皴擦简括写意，人物线条清劲灵动，淡墨轻岚晕染出空寂淡远的氛围，将冬日山林的萧寒清冷与文人寻幽访胜的孤高雅趣相融，于简淡之中尽显出超尘脱俗的文人情致。",[7,23,27,28,106,29,402,5310,229,866,1265,2310,34,10431,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":41886,"slug":41887,"title":41888,"dynasty":189,"author":921,"museum":311,"description":41889,"tags":41890,"thumbUrl":41891,"material":139,"size":139,"collection":139,"collections":41892,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":94},228174,"ma-tu-ren-ren-fa-228174","马图","此画以淡墨细劲勾勒出马的轮廓，辅以温润晕染烘托出躯体丰腴质感，垂首敛颈的骏马神态温驯悠然。以淡墨点簇晕开斑纹，层次柔润自然，细腻晕染下可见肌理起伏，牵丝勾勒的鬃毛劲挺顺滑，尽显良驹的神俊内敛。浅褐绢面留白衬出马儿松弛沉静的状态，右上角朱红方印古雅沉静，与底色相映成趣。整幅画作工致又不失写意松弛，于简淡笔墨间尽显写实功力，将鞍马温顺沉静的气质刻画入微，尽显古雅清隽的画中逸韵。",[7,209,23,24,28,27,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e9ea5c261803d6c4da058f76d720c.jpg",[],{"id":41894,"slug":41895,"title":13234,"dynasty":189,"author":921,"museum":311,"description":41896,"tags":41897,"thumbUrl":41898,"material":139,"size":139,"collection":139,"collections":41899,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":255},228173,"ren-ma-tu-juan-ren-ren-fa-228173","此卷绘三匹神骏，或昂首徐行，或垂目安步，筋骨肌理刻画入微，膘肥体健，神骏之态毕现。牵马者神情各异，衣冠服饰线条劲挺流畅，设色雅致沉稳，将人物的身份气度描摹得鲜活自然。\n\n画作写实精妙，比例精准，尽显创作者观察细致、笔力深厚。搭配的题字笔墨酣畅，与绘作相映成趣，整卷古意悠然，将人马之间的呼应刻画得浑然天成，尽显鞍马人物画的高古雅致风韵。",[7,209,23,24,25,28,27,106,150,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27670cfe79fb7e698f1516afb9d52f7.jpg",[],{"id":41901,"slug":41902,"title":41903,"dynasty":189,"author":9788,"museum":311,"description":41904,"tags":41905,"thumbUrl":41906,"material":139,"size":139,"collection":139,"collections":41907,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":94},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[7,23,24,225,173,28,83,226,407,229,266,4541,263,928,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":41909,"slug":41910,"title":41911,"dynasty":189,"author":17742,"museum":206,"description":41912,"tags":41913,"thumbUrl":41914,"material":302,"size":41915,"collection":139,"collections":41916,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":49},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[7,23,24,209,29,27,177,867,174,1542,6005,106,34,176,1088,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 横106.2 公分",[],{"id":41918,"slug":41919,"title":41920,"dynasty":189,"author":13710,"museum":311,"description":41921,"tags":41922,"thumbUrl":41925,"material":139,"size":139,"collection":139,"collections":41926,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},228077,"zhong-kui-ye-you-tu-yan-hui-228077","钟馗夜游图","此作用铁线游丝般的白描铺陈夜游盛景，开篇主角被鬼卒前呼后拥，伞盖高张、锣声隐隐，群鬼或扛矛开道、或携琴捧酒，狞怪形貌下藏着憨拙灵动的神态。画师以刚柔相济的墨线，勾勒出鬼物各异的怪谲身形，将幽冥出行的诡谲，化作带市井烟火气的诙谐游行。没有浓墨重彩，仅以枯淡墨痕衬出清冷幽冥的氛围感，把搜神题材的森然消解为戏谑意趣，尽显笔底奇思与线描功力，让这场夜游跳出幽冥的可怖，鲜活如人间市集的巡行。",[7,209,23,24,25,244,173,106,2161,41923,41924],"武器","动作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c9e76964e6d5a4befe37e1f51e3f10.jpg",[],{"id":41928,"slug":41929,"title":41930,"dynasty":189,"author":27824,"museum":311,"description":41931,"tags":41932,"thumbUrl":41933,"material":139,"size":139,"collection":139,"collections":41934,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},228034,"xi-qiao-ce-zhang-tu-luo-zhi-chuan-228034","溪桥策杖图","画作以枯木为视觉重心，双木虬曲苍劲，枝条如倒挂蟹爪，皴笔老辣简练，尽显岁寒枯槁之态。近岸山石以淡墨晕染，勾勒寥寥便见嶙峋质感，远景山峦以淡墨轻扫，晕染出空濛悠远的秋山暮色。\n\n溪桥横卧寒波，策杖行人缓步桥上，三两相伴，为冷寂天地添上些许烟火暖意，动静之间，将荒寒萧索与悠然意趣相融。全作用笔简淡空灵，以水墨写尽隐逸幽怀，枯淡之中暗藏生机，尽显文人超脱尘俗的林下襟怀，是元人尚意山水的逸格之作。",[7,23,24,1352,173,29,177,866,108,109,106,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8663ca638f193764ba17f57c5396ca4c.jpg",[],{"id":41936,"slug":41937,"title":41938,"dynasty":189,"author":3051,"museum":311,"description":41939,"tags":41940,"thumbUrl":41941,"material":139,"size":139,"collection":139,"collections":41942,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":255},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[7,23,24,25,27,29,177,178,34,35,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":41944,"slug":41945,"title":41946,"dynasty":18,"author":6864,"museum":311,"description":41947,"tags":41948,"thumbUrl":41949,"material":139,"size":139,"collection":139,"collections":41950,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[7,23,209,24,25,173,177,29,34,108,109,174,176,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":41952,"slug":41953,"title":41954,"dynasty":18,"author":1419,"museum":311,"description":41955,"tags":41956,"thumbUrl":41957,"material":139,"size":139,"collection":139,"collections":41958,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},227829,"wen-dao-tu-ma-yuan-227829","问道图","《明戴进洞天问道图》是明朝画家戴进创作的绢本设色画。\n描绘了深山大川、弥散的云气、 的青松、激荡的水流等山中之景。\n作品现藏于 。\n此图描绘 黄帝至 向 问道的故事。\n画面左侧峰峦突起，直入云霄，右侧古松茂蔚，老干虬枝。\n山谷险道上，身着衮服的皇帝孤身赴洞天问道。\n山石用斧劈皴，人物作琴弦描。\n设色淡雅。\n画风学南宋[画体]而又有元人秀劲的特色，为戴氏前期比较精微优美的佳构。\n画中署有[同郡戴文进为德宣卿友制]。\n后钤[钱塘戴氏文进]、[文进]二。\n此画笔法劲秀，描写精工，皴染淹润，着色清淡，画面境界有一种神秘幽渺之感。\n整幅作品皴法繁密，有条不紊，理在其中，深远之处用墨稍重，皴擦紧密，传达出了空间深远之感。\n图中山谷险道通往洞天，左侧峰突兀，右边长松茂蔚。\n山石用斧劈皴，人物作琴弦描，结构严谨，笔法秀劲，系南宋院体画法，属于 前期比较精微、优秀的佳作。\n戴进（公元188—1462年），明代画家，《明商录》作名班，学文进，号静庵，父号玉泉山人。\n钱塘（今浙江杭州）人。\n少时作银工，所作钗朵精巧绝伦，以为得以传之久远，后见销银者所熔销之物即出已作，遂改学画。\n神像、人物、走善、花果，翎毛俱精绝。\n所作山水，师马远，夏理，并取法轮照、李唐，俱道劲苍洞，行管顿挫多变，设色敷积沉重出严。\n宜宗时与谢廷循等同为待识，因进绘朱农人垂钓而遭谗。\n放归穷死。\n世评戴进为“浙派”之祖，明朝画流第一。\n传世作品有《春山积翠图》轴、《南屏雅集图》卷等。",[7,209,23,24,173,244,27,106,151,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe614a528d695d5f88bfee95f233c5e03.jpg",[],{"id":41960,"slug":41961,"title":41962,"dynasty":18,"author":1419,"museum":311,"description":41963,"tags":41964,"thumbUrl":41965,"material":139,"size":139,"collection":139,"collections":41966,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},227827,"fang-gu-qiu-dao-tu-ma-yuan-227827","访古求道图","此作截取林苑一隅，老梅虬枝盘曲如铁，繁花密缀其上，冷香暗涌。古松倚侧挺健，苍郁沉雄。策杖雅士缓行林间，仆从悄然随行，衣袂轻扬间，尽显萧散古雅的林下风致。\n\n笔墨洗练刚劲，以硬屈的线条勾勒枝干，尽显枯木的苍古之态，梅花晕染清润素雅，淡设色晕染出幽寂清寒的氛围，将林泉访古的幽怀雅趣融于边角取景中，简淡空灵，带着清寂悠远的韵致，尽显南宋院体画的精妙功力。",[7,209,23,24,27,177,106,29,402,1423,866,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe844b4a474880c32edeb6e516001d511.jpg",[],{"id":41968,"slug":41969,"title":8649,"dynasty":18,"author":2039,"museum":311,"description":40076,"tags":41970,"thumbUrl":41971,"material":139,"size":139,"collection":139,"collections":41972,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},227741,"huo-lang-tu-li-song-227741",[7,209,23,24,1352,28,27,106,228,384,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad1a42842dd503cd32e68b5bd50644a.jpg",[],{"id":41974,"slug":41975,"title":41976,"dynasty":18,"author":14246,"museum":311,"description":41977,"tags":41978,"thumbUrl":41979,"material":139,"size":139,"collection":139,"collections":41980,"showCount":41601,"zanCount":1337,"manualWeight":48,"mainColor":94},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[7,209,23,24,81,27,28,83,264,229,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":41982,"slug":41983,"title":41984,"dynasty":18,"author":278,"museum":311,"description":29673,"tags":41985,"thumbUrl":41986,"material":139,"size":139,"collection":139,"collections":41987,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},227390,"e-mi-tuo-fo-tu-li-zhou-yi-ming-227390","阿弥陀佛图立轴",[7,23,24,225,243,28,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aba528771369b65c6c3bf67051e1b3.jpg",[],{"id":41989,"slug":41990,"title":41991,"dynasty":18,"author":278,"museum":311,"description":41992,"tags":41993,"thumbUrl":41994,"material":139,"size":139,"collection":139,"collections":41995,"showCount":41601,"zanCount":2209,"manualWeight":48,"mainColor":94},227384,"ke-si-mu-dan-tu-ye-yi-ming-227384","缂丝牡丹图页","宋代尤其南宋是纯欣赏性缂丝诞生的摇篮，宋代缂丝，设色典雅，技术精巧，表现手法写实，是缂丝的黄金时代。纵观宋代帝王诸如仁宗、神宗、徽宗、高宗、光宗、宁宗等，他们都对国画有不同程度的兴趣，出于审美心理和装点宫廷的需要都很重视宫廷画院建设，北宋时还曾一度设立画学，尤其是徽宗赵佶，其工笔画及独创书法“瘦金体”（图1-3-3-1，赵佶《闰中秋月诗帖》，现藏北京故宫博物院）体现了他作为艺术家的杰出才能和修养。上行下效，宋代文人士大夫创作、收藏、品鉴艺术品蔚然成风，不少文人在艺术实践的题材、形式及审美旨趣上都有自己的独特见解和品位。",[7,209,23,24,1004,1352,2127,27,83,369,512,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17764363065a04d11b9b2bb3a5d41b69.jpg",[],{"id":41997,"slug":41998,"title":41999,"dynasty":18,"author":278,"museum":311,"description":42000,"tags":42001,"thumbUrl":42008,"material":139,"size":139,"collection":139,"collections":42009,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},227368,"yu-lin-ku-003-ku-zhu-shi-xi-pi-yi-ming-227368","榆林窟003窟主室西披","第三窟建于西夏统治瓜州晚期。窟内纷呈汉、藏民族及显宗、密宗的内容和艺术，是这一时期艺术最成熟、最典型的洞窟，独具特色。窟呈长方形，穹窿顶。窟中央偏后设八角形三级曼荼罗（坛城），上存清塑数身。窟四壁下部清代环砌双层台基，上存清塑十八罗汉像。顶绘曼荼罗，中画五方佛，东壁中央绘佛传，南北侧分绘汉密五十一面千手千眼观音曼荼罗、胎藏界曼荼罗及显宗天请问经变。南壁东起画曼荼罗、观无量寿经变、曼荼罗各一铺。北壁东起画曼荼罗、净土变、曼荼罗各一铺。西壁门上方绘维摩变，门南北侧绘普贤变、文殊变。甬道南北壁绘供养人。",[7,538,1945,8567,8040,39400,12208,18311,42002,42003,42004,42005,42006,42007],"千手千眼观音","文殊","普贤","经变画","密宗","显宗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda33172edda714d322800d21bd4448bf.jpg",[],{"id":42011,"slug":42012,"title":42013,"dynasty":18,"author":278,"museum":311,"description":42000,"tags":42014,"thumbUrl":42015,"material":139,"size":139,"collection":139,"collections":42016,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},227363,"yu-lin-ku-003-ku-zhu-shi-dong-bi-yi-ming-227363","榆林窟003窟主室东壁",[7,538,18,243,104,27,106,107,1945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7ab7284e705835acdfbc612130b8ae.jpg",[],{"id":42018,"slug":42019,"title":42020,"dynasty":76,"author":9369,"museum":311,"description":42021,"tags":42022,"thumbUrl":42023,"material":139,"size":139,"collection":139,"collections":42024,"showCount":41601,"zanCount":48,"manualWeight":48,"mainColor":49},224600,"da-ji-yang-fu-gui-tu-zhao-zhi-qian-224600","大吉羊富贵图","此作以祥花瑞果铺陈画面，雍容牡丹居于视觉中心，晕染得丰腴饱满，尽显华贵姿态。梅枝斜逸而出，山茶、水仙错落排布，石榴垂坠其间，将四时佳卉瑞果汇聚一堂，暗合多重吉祥寓意。\n\n笔墨兼工带写，叶片勾勒皴擦带着金石书法的刚劲质感，设色雅致沉稳，古旧底色更衬出沉静古韵。左侧题字笔力雄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1956年张伯驹夫妇将其捐献故宫博物院。",[7,86,178,25,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02431add9c7834cf0e008dcc8b0958b5.jpg","纵34.8厘米,横47.9厘米",[328],{"id":42669,"slug":42670,"title":4479,"dynasty":76,"author":42671,"museum":311,"description":42672,"tags":42673,"thumbUrl":42674,"material":2164,"size":2165,"collection":139,"collections":42675,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},235467,"hua-hui-tu-ce-fan-ting-zhen-235467","范廷镇","字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。",[7,23,24,28,27,81,83,84,62,853],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941364f8b372d1ca513902c35c530063.jpg",[],{"id":42677,"slug":42678,"title":32945,"dynasty":99,"author":37772,"museum":20,"description":42679,"tags":42680,"thumbUrl":42681,"material":841,"size":139,"collection":139,"collections":42682,"showCount":426,"zanCount":2209,"manualWeight":48,"mainColor":94},234244,"shan-shui-juan-zhang-fu-234244","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[7,23,25,24,173,27,177,29,174,108,109,107,34,176,1967,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":42684,"slug":42685,"title":42686,"dynasty":99,"author":42687,"museum":311,"description":42688,"tags":42689,"thumbUrl":42690,"material":302,"size":139,"collection":139,"collections":42691,"showCount":426,"zanCount":2209,"manualWeight":48,"mainColor":49},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[7,209,23,24,25,27,177,29,107,108,109,174,175,266,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":42693,"slug":42694,"title":42695,"dynasty":189,"author":645,"museum":20,"description":42696,"tags":42697,"thumbUrl":42698,"material":40,"size":42699,"collection":139,"collections":42700,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},232774,"xiao-yi-zhuan-lan-ting-xu-tu-juan-zhao-meng-fu-232774","萧翼赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。\n现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。\n该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。",[7,23,24,25,28,27,106,105,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c51deba39226d24cedc232f1a54eba.jpg","纵26.6厘米，横44.3厘米",[],{"id":42702,"slug":42703,"title":42704,"dynasty":189,"author":278,"museum":311,"description":42705,"tags":42706,"thumbUrl":42707,"material":139,"size":139,"collection":139,"collections":42708,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},231482,"pu-sa-tu-yi-ming-231482","菩萨图","菩萨天女体态丰腴，容貌端丽，具有动人的丰姿，在敦煌壁画中多有体现。",[7,23,24,225,243,27,28,106,1554,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce138af2f13e8fc586ace67f77117ce7.jpg",[],{"id":42710,"slug":42711,"title":42712,"dynasty":99,"author":2146,"museum":311,"description":42713,"tags":42714,"thumbUrl":42715,"material":139,"size":139,"collection":139,"collections":42716,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},231396,"ren-wu-gu-shi-tu-tang-yin-231396","人物故事图","唐寅生于成化六年二月初四，卒于嘉靖二年十二月二日，字伯虎，后改字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，明代画家、书法家、诗人。\n二十九岁时由诸生举应乡试，得第一名解元，名声大噪，故人称唐解元。而后，家中连遭不幸，父母、妻子、妹妹相继去世。三十岁时进京会试，涉会试泄题案而被革黜。后游历名山大川，以卖文鬻画闻名天下。\n早年随沈周、周臣学画，宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。\n唐寅的人物作品传世颇多，无论是单幅人物还是群像无不精彩。这件吹萧仕女图尺幅巨大，然笔笔精到，无一败者，可以说是达到了通会之际人画俱老的境界。他的人物画有两种风格，一种是繁笔重彩，另外一种则是简笔淡彩。前一种画风是从唐人重彩画而来。而这张画则是前一种画风的杰作。 从线描的技巧来看，他运用了唐代吴道子的兰叶描。一波三折，如风中不断翻转着的兰叶，充满着内在的韵律。在仕女面部开相上，丰额细眉，眼小如线。在烘染上则用唐代盛行的三白法，厚而不腻，对比强烈。细观该画中的仕女，其头发丝的烘染，也是一丝不苟，层层深入的。古人说画人难画手，画树难画柳。因为人手部的结构复杂，表现不好不是僵就是软。而唐寅对手的刻画真是细致人微，让人似乎可以感觉到仕女手部的温暖。在衣服格纹的钩染与填色上，也是一丝不苟。从整体上看，这件作品的色彩古雅沉静，有着青铜器一样幽深无际之感。表现出晚年唐寅人物画风的一个重要变化，他试图在大幅人物画中将粗笔的写意与工笔的钩染相结合起来。这说明他的绘画艺术还在发展着，可惜的是他这种尝试还没有完全成熟就去世了。 古人画仕女多是借美人香草而别有怀抱的。因这件画幅只落有穷款，我们无法推知作者在画这件作品时的喻意。画中表现的是一个着宫装的贵族仕女在吹着洞萧，我们虽然昕不到声音，但是通过画面似乎听到幽怨的萧声自画中传出来。唐寅晚年是很凄苦的，妻子和儿子先他而去。家庭的温暖不再可得，故他笔下的人物也多有哀怨之色。这件作品表面上看非常之富丽华贵，而其骨子里却是悲凉的。",[7,23,24,28,27,106,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86cd1be9df83a8a61d6a9c212c4aebd.jpg",[],{"id":42718,"slug":42719,"title":28433,"dynasty":76,"author":18846,"museum":311,"description":29608,"tags":42720,"thumbUrl":42721,"material":2164,"size":2165,"collection":139,"collections":42722,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},230245,"qi-yan-lian-hong-yi-fa-shi-230245",[7,86,7024,621,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08340d768183cc07f8beb0b3f1626165.jpg",[],{"id":42724,"slug":42725,"title":42726,"dynasty":76,"author":4406,"museum":311,"description":42727,"tags":42728,"thumbUrl":42729,"material":139,"size":139,"collection":139,"collections":42730,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},230194,"yun-he-song-yin-tu-wang-jian-230194","云壑松阴图","清王鉴云壑松荫图轴是清代时期的文物，现收藏于上海博物馆。\n王鉴（1598-1677），字元照，号湘碧、染香庵主，有“王廉州”之称，太仓（今江苏）人。\n山水以元四家为宗，用墨浓润，风格沉雄，“清初六家”之一。\n此图作于康熙乙卯(1675)，时年七十八岁。\n布局转折多姿，笔法细密灵活，画面显得滋润、整洁而明净。",[7,23,24,225,173,29,177,1365,109,558,34,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7dcd1f06106fa7ea0da3e5cfff9089.jpg",[],{"id":42732,"slug":42733,"title":42734,"dynasty":99,"author":817,"museum":311,"description":27771,"tags":42735,"thumbUrl":42736,"material":2164,"size":2165,"collection":139,"collections":42737,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},228879,"duan-he-ming-qin-tu-wen-zheng-ming-228879","断壑鸣琴图",[7,23,24,225,27,29,177,28,466,176,34,468,1220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4602ec7c95628152453ccd92f14e664.jpg",[],{"id":42739,"slug":42740,"title":42741,"dynasty":99,"author":278,"museum":311,"description":42742,"tags":42743,"thumbUrl":42744,"material":139,"size":139,"collection":139,"collections":42745,"showCount":426,"zanCount":2209,"manualWeight":48,"mainColor":49},228813,"die-hua-tu-yi-ming-228813","蝶花图","此作用笔兼工带写，粉紫丛花挺立于坡石之侧，花头饱满柔润，叶片以浓淡墨晕染出阴阳向背，古拙中见雅致。坡石简笔勾勒皴擦，苍朴厚重，衬得花草愈见清妍。\n\n两只蛱蝶翩跹花间，翅脉纤毫毕现，振翅欲飞的姿态灵动鲜活，将郊野刹那生机定格。设色沉雅柔和，古绢底色更添朴茂古意，整体画面简淡空灵，铺展出幽塘野径间的闲趣诗意，尽显写生花鸟的隽永意趣，于静谧中藏着灵动野趣。",[7,23,27,28,83,512,229,84,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ff6a1fc2bdaca3c3b288d2f5d5422c.jpg",[],{"id":42747,"slug":42748,"title":42749,"dynasty":99,"author":15579,"museum":311,"description":42750,"tags":42751,"thumbUrl":42752,"material":139,"size":139,"collection":139,"collections":42753,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[7,23,24,225,29,27,177,7577,1365,107,108,109,1422,106,150,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":42755,"slug":42756,"title":42757,"dynasty":99,"author":3839,"museum":311,"description":42758,"tags":42759,"thumbUrl":42760,"material":2164,"size":2165,"collection":139,"collections":42761,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},228492,"gu-xian-shi-yi-tu-juan-du-jin-228492","古贤诗意图卷","全卷共分九段，分别为：右军笼鹅、桃源图、把酒问月、听颖师弹琴、茶歌、饮中八仙、东山宴饮、咏水仙、舟中夜雪。\n金琮书法偏向于厚重一路，倾向沉稳的风格，因其书法很似赵书，故很多金琮的字，即使不是有意作伪，也被后人挖去原款，添上“赵孟頫”三字，以欺世人。\n杜堇所画之人物采用白描法，笔法细劲透逸，形象生动有神。树石、藤草、桌椅、车、马、小舟等点景穿插有致。墨色淡雅，但淡而不薄，雅而不空。构图简洁，意境清幽，皆得诗意要旨。",[7,23,24,25,244,173,28,86,178,106,29,34,229,285,263,9194,1640,3157,8871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],{"id":42763,"slug":42764,"title":18002,"dynasty":99,"author":18003,"museum":311,"description":42765,"tags":42766,"thumbUrl":42767,"material":139,"size":139,"collection":139,"collections":42768,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},228394,"hua-die-cao-chong-ce-du-da-cheng-228394","此作用水墨写意绘就花枝蛱蝶，淡墨晕染花瓣，晕出柔润层次，浓墨点醒花心，叶片以干湿浓墨分出阴阳向背，笔致写意率性却不失草木姿态，枝条挺秀舒展，暗含生机动人。\n\n一旁蛱蝶用工笔勾勒，翅脉纤毫毕现，蝶翼轻颤欲落，与写意花木形成工写对照，动静相生。画面留白疏朗雅致，将蛱蝶翩跹之灵与花枝清逸之静相融，尽显简淡清隽的意趣，笔墨简而意态足，晕开春日草木的悠然生机，尽显雅致风神。",[7,209,23,173,81,83,512,62,511,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dea1476444c732f0df93615d5f9095.jpg",[],{"id":42770,"slug":42771,"title":42772,"dynasty":99,"author":936,"museum":311,"description":42773,"tags":42774,"thumbUrl":42775,"material":139,"size":139,"collection":139,"collections":42776,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},228298,"lao-lian-hua-tang-tu-chen-hong-shou-228298","老莲画堂图","淡墨白描晕开古雅夜色，灯影斜斜悬于堂侧，晕开一室松弛的雅集意趣。高古游丝般的线条勾勒出人物百态：长者凭坐把盏，悠然漫饮；士人垂眸静穆，似沉湎清谈余韵；侍女低眉侍立，温婉静雅，僮仆俯身备食，意态自然。沉暗的古绢底色衬出简淡笔意，留白里漫着晚夜风致，未施浓丽敷色，仅以寥寥墨痕，便将文人士子宴坐清谈的闲雅况味尽数铺展，笔简意长，藏着旧时光的温软松弛。",[7,23,24,225,28,27,106,1423,300,9260,39514],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07609c13b78b81a117b87dd9ce988a.jpg",[],{"id":42778,"slug":42779,"title":42780,"dynasty":99,"author":936,"museum":311,"description":42781,"tags":42782,"thumbUrl":42783,"material":139,"size":139,"collection":139,"collections":42784,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},228293,"tong-zi-li-fo-tu-chen-hong-shou-228293","童子礼佛图","《陈洪绶童子礼佛图轴》是明代画家陈洪绶创作的一幅设色画。\n本幅款署：“老莲洪绶画于获兰草堂。\n”钤“陈洪绶印”白文、“ ”朱文印。\n《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。\n图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。\n佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛 起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。\n此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。\n佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。\n此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[7,23,24,225,243,28,27,106,229,31540,692,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":42786,"slug":42787,"title":5802,"dynasty":189,"author":278,"museum":311,"description":42788,"tags":42789,"thumbUrl":42790,"material":139,"size":139,"collection":139,"collections":42791,"showCount":426,"zanCount":1337,"manualWeight":48,"mainColor":49},228205,"gong-nv-tu-yi-ming-228205","此作以界画工法描摹层叠宫苑，青绿晕染的山水烘托出楼宇朱栏的明丽雅致。数百宫女素衣翩跹，错落游走在亭台廊榭间：凭栏者凝眸远山，执役者缓步穿廊，低语嬉游者顾盼生姿，将深宫日常的幽闲意绪细腻铺陈。古雅沉润的色调晕开，把皇家苑囿的恢宏与深院女子的柔婉相融，工细的线条勾勒出楼阁规制的严整，也晕染出宫女情态的灵动，让森严深宫晕开缕缕烟火暖意，尽显传统工笔与界画结合的精妙意韵。",[7,23,24,225,27,28,104,106,107,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3d48c6d9c6ff91ec23b7c25f039eeb.jpg",[],{"id":42793,"slug":42794,"title":42795,"dynasty":189,"author":9788,"museum":206,"description":42796,"tags":42797,"thumbUrl":42798,"material":327,"size":42799,"collection":139,"collections":42800,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[7,209,23,24,225,173,177,403,175,106,108,109,174,29,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":42802,"slug":42803,"title":38602,"dynasty":189,"author":19012,"museum":311,"description":42804,"tags":42805,"thumbUrl":42806,"material":139,"size":139,"collection":139,"collections":42807,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},228069,"teng-wang-ge-tu-ye-xia-yong-228069","《滕王阁图》是 夏永创作的绢本墨笔画，现藏于美国波士顿美术馆。\n该图描绘中国名胜滕王阁的形势景色，画上并以细微楷写唐代王勃《滕王阁序》，用笔极为精细而不失矩度，堪称界画绝品。\n滕王阁位于江西 城外，唐高祖为其子 洪州刺史所建，元婴后封滕王故得名。\n此图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面。\n高台之下，江坡浩渺，鱼舟往来，高低错落的楼阁亭台,殿内文士雅集，颇有园林趣味。\n如此规模的绘画景点，作者竟然在楼阁台基旁还描绘了陈设的精美古盆和盆景，一只高足束腰敞口渣斗式古盆，栽培着一棵 ，陈设在高阁空荡平台的中间。\n由此也可证实，当时社会时尚和作者艺术生活与美学观念的倾向。\n此图采用册页形式，取景重心偏置于画幅边角，以墨笔白描法表现著名楼阁。\n夏永擅画界画，喜绘滕王阁、岳阳楼、黄鹤楼，颇合营造规模，能迎合士夫趣味，画风对后世影响很大。\n此图用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n夏永（公元14世纪中）， 画家，字明远，钱塘（今浙江杭州）人，生卒年不详。\n擅长宫殿楼阁界画，师法王振鹏。\n所作《滕王阁图》、《 图》、《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n《花间笑语》云：“细若蚊睫，侔于鬼工。\n”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。\n传世作品有至正七年（147）作《岳阳楼图》册页，绢本，墨笔，纵25厘米，横26厘米，图右上书范仲淹《岳阳楼记》全文，款署“至正七年四月二十日，钱塘夏永明远画并题”；《丰乐楼图》册页，绢本，墨笔，纵25.8厘米，横25.8厘米，图中有夏永微楷书“十里挲平丰乐楼”长题，未署款，钤有“夏明远印”一方，现均藏故宫博物院；《岳阳楼图》页和《黄鹤楼图》页，尺寸相同，绢本，设色，纵27.厘米，横27.6厘米，藏 ；《滕王阁图》册页藏上海博物馆；《楼阁山水图》册页，绢本，设色，纵21.5厘米，横26.1厘米，藏美国高居翰教授景元斋。",[7,23,24,104,244,107,174,29,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e076c91b09ebf8640c247633824730.jpg",[],{"id":42809,"slug":42810,"title":42811,"dynasty":18,"author":6864,"museum":311,"description":42812,"tags":42813,"thumbUrl":42814,"material":139,"size":139,"collection":139,"collections":42815,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","危崖斜出，古木盘虬扎根崖壁，数道飞瀑破壁而出，訇然落向下方深潭。山石以粗劲短皴勾勒轮廓，苍莽厚重，尽显崖石坚硬荒寒；飞瀑以留白衬墨色，线条劲挺利落，将水流奔涌之势藏在简淡笔墨里。\n\n整幅画作以水墨浓淡铺展山野幽寂，无多余点染，却将空谷间瀑流轰鸣、林壑沉静的氛围感拉满，带着独有的萧散冷逸，于尺幅间尽显磅礴大气，暗合寄情林泉、澄怀观道的文人意趣。",[7,209,23,24,225,173,177,29,466,5967,34,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],{"id":42817,"slug":42818,"title":42819,"dynasty":18,"author":708,"museum":311,"description":42820,"tags":42821,"thumbUrl":42822,"material":139,"size":139,"collection":139,"collections":42823,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},227982,"xi-yuan-tu-xia-gui-227982","戏猿图","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[7,18,23,24,209,173,27,808,11064,384,759,928,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":42825,"slug":42826,"title":42827,"dynasty":18,"author":278,"museum":311,"description":42828,"tags":42829,"thumbUrl":42830,"material":139,"size":139,"collection":139,"collections":42831,"showCount":426,"zanCount":2209,"manualWeight":48,"mainColor":49},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[7,209,23,24,1352,28,27,83,18371,696,1004,940,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],{"id":42833,"slug":42834,"title":42835,"dynasty":18,"author":278,"museum":311,"description":42836,"tags":42837,"thumbUrl":42838,"material":139,"size":139,"collection":139,"collections":42839,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},227859,"mo-zhou-fang-xi-ying-quan-juan-yi-ming-227859","摹周昉戏婴全卷","此作画风承续唐人遗韵，绢本设色雅致柔丽。画面之中，闺中仕女温婉安坐，垂眉含笑逗弄稚童，孩童们或蹒跚学步或偎依撒娇，娇憨天真尽显；家犬蹭玩一旁，满卷皆是融融天伦暖意。\n线条细劲柔丽，将仕女纱衣的通透莹润、幼童肌肤的软嫩质感晕染恰到好处，复刻出周昉一派柔婉绮丽的仕女画格调。整卷将深宅里寻常嬉游的日常，绘就为传世温情，尽显雅致世俗意趣，是宋摹唐画里颇具情致的佳作。",[7,23,24,25,105,28,27,106,59,9044,436,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007d3c6b842efb4988a0404266ac130.jpg",[],{"id":42841,"slug":42842,"title":42843,"dynasty":18,"author":278,"museum":311,"description":42844,"tags":42845,"thumbUrl":42846,"material":139,"size":139,"collection":139,"collections":42847,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},227833,"lin-liu-fu-qin-tu-yi-ming-227833","临流抚琴图","画面以边角取势，古松虬曲苍劲，垂藤萦绕，将崖岸的荒古野逸晕开。临流石上，隐士安然抚琴，襟怀自适。远处汀渚隐现于烟岚薄雾之间，水色空蒙，淡墨轻皴尽绘江天寥廓。\n笔墨简淡却意韵悠长，以苍劲勾勒写松之老态，晕染铺就江天虚静，将林下幽居、寄情山水的文人意趣藏于尺幅间，尽显尚简求雅的禅寂风骨，静穆之中，似有琴音随波远逝，恍若带人走入物我两忘的幽远之境。",[7,23,173,177,1352,29,106,109,34,229,210,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F525e8494d45cb369b9a329292fc78b89.jpg",[],{"id":42849,"slug":42850,"title":42851,"dynasty":18,"author":1677,"museum":311,"description":34061,"tags":42852,"thumbUrl":42853,"material":139,"size":139,"collection":139,"collections":42854,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},227635,"chun-jiao-hui-yan-tu-ye-ma-lin-227635","春郊回雁图页",[7,23,209,24,4850,27,29,266,1422,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f17cd983e2e0d63867687a89a84056.jpg",[],{"id":42856,"slug":42857,"title":42858,"dynasty":18,"author":553,"museum":311,"description":42859,"tags":42860,"thumbUrl":42861,"material":139,"size":139,"collection":139,"collections":42862,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[7,23,24,81,177,27,29,150,106,1422,865,176,1775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":42864,"slug":42865,"title":42866,"dynasty":18,"author":278,"museum":311,"description":42000,"tags":42867,"thumbUrl":42868,"material":139,"size":139,"collection":139,"collections":42869,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},227370,"yu-lin-ku-003-ku-yong-dao-nan-bi-yi-ming-227370","榆林窟003窟甬道南壁",[7,1004,538,27,106,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a56b9cc35def35720b3e2c4e302ba38.jpg",[],{"id":42871,"slug":42872,"title":42873,"dynasty":18,"author":42874,"museum":311,"description":42875,"tags":42876,"thumbUrl":42878,"material":2164,"size":2165,"collection":139,"collections":42879,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},227328,"zi-zhi-tong-jian-can-gao-si-ma-guang-227328","资治通鉴残稿","司马光","是司马光手迹原本",[7,24,86,25,178,263,5153,2547,42877],"稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7b7aadcc6600349ef79463d337d6b2.jpg",[],{"id":42881,"slug":42882,"title":42883,"dynasty":277,"author":16142,"museum":311,"description":42884,"tags":42885,"thumbUrl":42886,"material":139,"size":139,"collection":139,"collections":42887,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[7,209,23,464,225,29,2019,107,865,176,1267,1265,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":42889,"slug":42890,"title":42891,"dynasty":76,"author":21699,"museum":311,"description":34680,"tags":42892,"thumbUrl":42893,"material":139,"size":139,"collection":139,"collections":42894,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},226634,"si-shi-shan-shui-07-pu-ru-226634","四时山水07",[7,23,24,173,27,177,29,175,1365,176,35,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559be15cbf0d7b675d5eeea0f7e508f.jpg",[],{"id":42896,"slug":42897,"title":42898,"dynasty":76,"author":7940,"museum":311,"description":42899,"tags":42900,"thumbUrl":42901,"material":139,"size":139,"collection":139,"collections":42902,"showCount":426,"zanCount":2209,"manualWeight":48,"mainColor":49},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[7,23,24,1218,225,177,173,27,29,1365,176,466,35,1267,34,12074,468,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":42904,"slug":42905,"title":42906,"dynasty":76,"author":1584,"museum":311,"description":42907,"tags":42908,"thumbUrl":42909,"material":139,"size":139,"collection":139,"collections":42910,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[7,23,24,225,27,29,557,34,35,108,109,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":42912,"slug":42913,"title":42914,"dynasty":76,"author":10054,"museum":311,"description":42915,"tags":42916,"thumbUrl":42921,"material":139,"size":139,"collection":139,"collections":42922,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":255},224357,"xiu-zhu-you-ju-tu-yu-zhi-ding-224357","修竹幽居图","《修竹幽居图》是清代禹之鼎创作的设色纸本画。\n本幅右上题“高宗修竹幽居图”，左上款署：“己卯长夏敬绘，十二家恭颂师保相国王老大人千秋，后学禹之鼎。\n”钤“禹之鼎”、“慎斋”印二方。\n己卯为清康熙三十八年（1699年），禹之鼎时年5岁。\n画面上水天空旷，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[7,23,209,9374,28,400,27,26,173,29,226,264,1724,175,298,176,34,106,42917,42918,42919,42920],"茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],{"id":42924,"slug":42925,"title":42926,"dynasty":76,"author":40801,"museum":311,"description":42927,"tags":42928,"thumbUrl":42929,"material":139,"size":139,"collection":181,"collections":42930,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},224341,"ming-quan-tu-mei-qing-224341","鸣泉图","此作用高远取景，层叠飞瀑自云山深处奔涌而下，跌水层层相续，水雾漫过山峦，将空山的幽寂尽数铺展。崖巅红衣旅人持杖伫立，凝听泉音，以人物的静，衬出飞瀑轰鸣，一动一静间，山野清绝之趣尽显。\n\n笔墨糅合纵逸与温润，山石以皴擦晕染写出苍莽质感，虬松古木点染灵动苔痕，浅赭淡晕晕开幽渺空蒙的氛围。题诗与山水相映，诗画交融，将观泉听涛的林泉雅志藏入尺幅，尽显出世幽怀与山水禅意。",[7,23,24,225,27,29,109,734,384,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af8d90ec82816cfa1ccb2770015b814.jpg",[181],{"id":42932,"slug":42933,"title":42934,"dynasty":76,"author":1563,"museum":311,"description":42935,"tags":42936,"thumbUrl":42937,"material":139,"size":139,"collection":139,"collections":42938,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},224187,"hua-niao-cao-chong-tu-ba-06-hua-yan-224187","花鸟草虫图八-06","此作用笔兼工带写，墨色层次清润雅致。垂落柳丝以淡墨勾勒轮廓，浓墨点染叶瓣，随风舒展尽显柔媚之态。枝头禽鸟身形灵动，侧目下望将观者视线引向水面。波中水禽以焦墨晕染羽翼，蓬松苍劲，正振翅拨弄清波，野趣盎然。左侧题字与画面相映成趣，将文人雅意融入水乡小景，寥寥数笔便将禽鸟的灵动生姿与塘边清趣尽数铺陈，把春日塘间的幽微生机勾勒得淋漓尽致。",[7,23,24,173,27,83,266,6516,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4ed4c433fe50dc6a11c97d92f4b862.jpg",[],{"id":42940,"slug":42941,"title":42942,"dynasty":18,"author":278,"museum":311,"description":42943,"tags":42944,"thumbUrl":42945,"material":2164,"size":2165,"collection":139,"collections":42946,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},223553,"shen-shan-hui-qi-tu-yi-ming-223553","深山会棋图","该画青绿设色，主要表现一士人策杖而行，身后跟随二童仆，一仆携琴，另一仆则肩扛巨大的葫芦，暗示道教的“壶中天”；主仆三人正走向山洞洞门，门后高山耸立，山后却别有天地，象征道教中的“洞天”；“洞天”内则琼楼玉宇，二仙人正在弈棋。\n此类画作，无款无印，是专于墓葬的使用而创作，喻示死者能够仙化，从而进入人所仰慕的神仙世界。此画是中国古代“洞天”和“仙弈”等思想观念的体现。",[7,23,24,29,173,177,27,176,1365,107,106,109,13401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30288ef13f2034087c552c24805539d6.jpg",[],{"id":42948,"slug":42949,"title":42950,"dynasty":18,"author":278,"museum":20,"description":42951,"tags":42952,"thumbUrl":42953,"material":699,"size":42954,"collection":181,"collections":42955,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[7,23,24,25,105,173,177,29,384,466,558,175,109,106,229,108,865,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[181,163],{"id":42957,"slug":42958,"title":42959,"dynasty":18,"author":278,"museum":20,"description":42960,"tags":42961,"thumbUrl":42962,"material":40,"size":42963,"collection":139,"collections":42964,"showCount":426,"zanCount":2209,"manualWeight":48,"mainColor":49},223474,"zhe-zhi-guo-tu-ye-yi-ming-223474","折枝果图页","在技法上，树干用细笔勾勒，充满赭光，厚重古朴； 轮廓用粗细的彩虹勾勒出来，再染上青色和墨绿色，色彩鲜艳。",[7,23,24,81,27,28,22687,2267,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb395bb89c0cb2fa1af556b191181cff9.jpg","52.8x46.5cm",[],{"id":42966,"slug":42967,"title":42968,"dynasty":18,"author":278,"museum":20,"description":42969,"tags":42970,"thumbUrl":42971,"material":67,"size":42972,"collection":42,"collections":42973,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[7,23,209,28,27,104,106,150,35,384,176,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[42],{"id":42975,"slug":42976,"title":42977,"dynasty":18,"author":278,"museum":206,"description":42978,"tags":42979,"thumbUrl":42980,"material":573,"size":42981,"collection":139,"collections":42982,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},223427,"song-ren-pi-pa-yuan-xi-tu-zhou-yi-ming-223427","宋人枇杷猿戏图轴","从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有著相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠闲地坐在树干上，和牠相互凝望，情意相系。\n老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠闲旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。",[7,209,23,24,225,28,27,808,11064,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ef7c2e9e1f091b0edc125c19b59367.jpg","165x107.9厘米",[],{"id":42984,"slug":42985,"title":42986,"dynasty":18,"author":278,"museum":206,"description":42987,"tags":42988,"thumbUrl":42990,"material":327,"size":42991,"collection":139,"collections":42992,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[7,23,24,225,27,28,151,808,865,12037,4010,558,737,8925,27233,42989,658,3887,9402,38168,8725],"犊牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":42994,"slug":42995,"title":9762,"dynasty":18,"author":278,"museum":486,"description":42996,"tags":42997,"thumbUrl":42998,"material":40,"size":42999,"collection":139,"collections":43000,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[7,209,23,24,25,28,27,106,150,63,263,86,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":43002,"slug":43003,"title":43004,"dynasty":18,"author":278,"museum":20,"description":43005,"tags":43006,"thumbUrl":43007,"material":573,"size":43008,"collection":139,"collections":43009,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},223332,"san-yang-tu-yi-ming-223332","三羊图","彩绘柳树伞下的气球在坡草间游荡觅食。 蓬松的，富有一定的。 用笔擦干树干，笔变粗。",[7,23,209,24,1004,28,27,808,6545,384,385,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":43011,"slug":43012,"title":19422,"dynasty":76,"author":18846,"museum":311,"description":18847,"tags":43013,"thumbUrl":43014,"material":699,"size":139,"collection":328,"collections":43015,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},223269,"shou-gao-hong-yi-fa-shi-223269",[7,315,86,178,19422,173,37433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b8bbd2a6b1133663e16d60ab14e235.jpg",[328],{"id":43017,"slug":43018,"title":43019,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":43020,"thumbUrl":43021,"material":67,"size":2225,"collection":139,"collections":43022,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},223034,"hong-lou-meng-159-sun-wen-223034","红楼梦159",[7,23,28,27,104,106,107,806,115,284,436,3157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbe80f58a5cddf6da26b9a07b002371.jpg",[],{"id":43024,"slug":43025,"title":43026,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":43027,"thumbUrl":43030,"material":67,"size":2225,"collection":139,"collections":43031,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},223031,"hong-lou-meng-156-sun-wen-223031","红楼梦156",[7,209,23,24,25,28,27,104,106,107,14603,1641,298,84,41153,43028,3830,43029],"传统建筑","聚会场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa653142b82fe372c69258835ddd281d8.jpg",[],{"id":43033,"slug":43034,"title":43035,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":43036,"thumbUrl":43037,"material":67,"size":2225,"collection":139,"collections":43038,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},223030,"hong-lou-meng-155-sun-wen-223030","红楼梦155",[7,28,27,104,106,107,29,226,34,115,298,36718,1434,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff333b78bc458b864fa110eb261e62863.jpg",[],{"id":43040,"slug":43041,"title":43042,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":43043,"thumbUrl":43048,"material":67,"size":2225,"collection":139,"collections":43049,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":255},222968,"hong-lou-meng-93-sun-wen-222968","红楼梦93",[7,23,24,28,27,106,8782,300,7024,299,28387,5766,43044,2220,43045,43046,43047],"字画","古典陈设","中式建筑构件","室内装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93df387d900686b98bb06eaee91c247b.jpg",[],{"id":43051,"slug":43052,"title":35358,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":43053,"thumbUrl":43054,"material":67,"size":2225,"collection":139,"collections":43055,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},222933,"hong-lou-meng-58-sun-wen-222933",[7,23,24,28,27,106,299,3790,228,4420,1115,1116,4421,63,65,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7fb05d8c632be2dfa4c21f8193d437.jpg",[],{"id":43057,"slug":43058,"title":10438,"dynasty":76,"author":31138,"museum":206,"description":31139,"tags":43059,"thumbUrl":43060,"material":139,"size":43061,"collection":181,"collections":43062,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850",[7,23,24,225,173,27,177,29,109,34,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 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作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[7,23,24,25,27,106,151,6926,61,28,178,86,27887,2949,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":43080,"slug":43081,"title":43082,"dynasty":99,"author":7174,"museum":38812,"description":43083,"tags":43084,"thumbUrl":43085,"material":139,"size":43086,"collection":139,"collections":43087,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},222474,"li-bai-shi-er-shou-zhu-yun-ming-222474","李白诗二首","明代中期的书坛以吴门祝允明（1460-1526）、文徵明（1470-1559）、陈淳（1483-1544）、王宠（1494-1533）最为著名，他们生活在同时代、同地域，在书法艺术方面都成就斐然，影响深远，为书史上一奇观。这四人中，祝允明、陈淳书风以劲健放纵见长，文徵明、王宠书风偏于劲健工稳。所同者在“劲健”，用笔讲求力度，结体尚端正，即使祝、陈的狂草亦难脱此风。其中祝、文二人虽学通魏晋、唐宋，但受黄山谷影响较重，祝之草、文之行皆脱胎于山谷，无山谷之温文尔雅，但大开大合处亦可称道。陈淳出于文徵明而颠逸放纵以成自家面目，端庄逊于文而姿态过之。王宠用心魏晋，宋后习气稍少，相比于前三人，个性不足却韵致为高。",[7,23,24,86,2570,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26105ef6460b281c4ecbfaf6305aa842.jpg","25.3X310cm",[],{"id":43089,"slug":43090,"title":43091,"dynasty":99,"author":7174,"museum":583,"description":43092,"tags":43093,"thumbUrl":43094,"material":699,"size":43095,"collection":328,"collections":43096,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},222472,"yun-jiang-ji-zhu-yun-ming-222472","云江记","此卷写于弘治八年（1495年），祝允明35岁，是他早期的草书。末署“弘治八年秋日，长洲枝山祝允明书”，并钤“允明之印”和“希哲”二印。\n该卷写得劲健豪放，刚柔相济，点画狼藉，烟云变幻。可以看到他已经将二王、怀素、张旭、黄山谷融会贯通。但较其晚年狂草作品，则显出用笔稍轻，因而有人疑为伪。\n祝允明（1460—1527年），字希哲，因为他多生一指，又号枝指生，枝指山人，枝山等。祝允明的祖父祝颢、外祖父徐有贞都是进士，学问渊博，工诗善书。由于先天的禀赋和祖父外、外祖父的影响祝允明的才华很早就显露出来了。\n祝允明五岁能作径尺大字，读书一目数行，九岁即能作诗，而且出语惊人。当他晚年回忆童年学书时说：“所幸独蒙先人之教，自髫丱以来，绝其令学近人书，目所接皆晋、唐帖也。”由于先辈的教诲，他一开始学书，就取法乎上，打下很好的基础。\n祝允明的草书主要是受他外祖父徐有贞的影响，徐的草书学张旭、怀素，雄肆奔放，这对祝氏草书风格的形成起了决定的作用。祝允明书法风格从精楷到狂草，跨度之大令人惊异，一方面是受这二位前辈的启迪，另一方面则是他横溢的才华决定的。\n明弘治五年(1492年)，祝允明33岁，参加乡试中了举人。他的考卷很得主考王鏊的赏识。他踌躇满志，以为凭自己的才学，进京考试中进士，易如反掌。没想到后来七次会试都不见录。\n仕途的失意，大大改变了祝允明的人生态度，使他从发奋读书、追求功名的圣贤之徒，变成了游戏人生，放荡不羁的漫士。这一转变也带来他笔下的变化，他40岁前后很少作草书，50岁后所作草书就多了起来，而且越来越狂放。\n从不同时期的作品中，可以看出他这种风格的变化。",[7,86,2570,178,25,24774,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ac6aa2b52b706efe936629884f10c6.jpg","纵26.6厘米，横265.5厘米",[328],{"id":43098,"slug":43099,"title":14965,"dynasty":99,"author":21295,"museum":206,"description":43100,"tags":43101,"thumbUrl":43102,"material":527,"size":43103,"collection":139,"collections":43104,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},222183,"fang-fan-kuan-shan-shui-zhao-zuo-222183","本幅收在赵左《山水册》第八开。近景画寒林、古刹，远处一峰高起，瀑悬其间。\n全画布置简洁，着墨无多，以淡柔雅逸取胜。左方题：「仿范宽。」刘道醇《宋朝名画评》（1057）称范宽（约950-1031间）画冬景好作「冒雪出云之势」，此作或系追摹此意。",[7,23,24,105,177,27,81,29,734,384,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53718b9f1aaaa21bae715bc637496395.jpg","23x21.5.",[],{"id":43106,"slug":43107,"title":43108,"dynasty":99,"author":17052,"museum":206,"description":43109,"tags":43110,"thumbUrl":43111,"material":67,"size":43112,"collection":139,"collections":43113,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},222136,"liu-hai-xiang-liu-jun-222136","刘海像","刘俊工画人物、山水、界画，用笔劲健，人物衣纹带方折，屋宇界画精细工整，构图平稳严谨，谓“入能品”。宪宗朱见深、孝宗朱祐樘两朝（1465-1505）供奉内廷，授锦衣都指挥。传世作品有《雪夜访普图》轴，绢本，设色，现藏故宫博物院；《刘海戏蟾图》轴，绢本，设色，藏河北省博物馆。另有《刘海戏蟾图》轴，绢本，设色，藏中国美术馆；《仙人像》轴，绢本，设色，现藏天津市历史博物馆。从艺活动约在成化、正德间。",[7,23,24,225,173,244,106,19943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb498bb77332db9347fb8c344e2966583.jpg","30X85厘米",[],{"id":43115,"slug":43116,"title":43117,"dynasty":99,"author":170,"museum":56,"description":43118,"tags":43119,"thumbUrl":43120,"material":841,"size":43121,"collection":139,"collections":43122,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[7,209,23,24,25,173,27,178,86,263,177,2352,175,384,108,109,106,692,176,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":43124,"slug":43125,"title":43126,"dynasty":99,"author":4796,"museum":206,"description":43127,"tags":43128,"thumbUrl":43129,"material":123,"size":43130,"collection":90,"collections":43131,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},221938,"fen-bu-tu-zhou-bian-wen-jin-221938","分哺图轴","边文进，字景昭，福建沙县人，生卒年待考。曾供事内殿，活跃于永乐（1403 －1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[7,209,23,24,225,28,27,83,2801,19375,226,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[90,45],{"id":43133,"slug":43134,"title":43135,"dynasty":189,"author":4438,"museum":101,"description":43136,"tags":43137,"thumbUrl":43138,"material":160,"size":43139,"collection":139,"collections":43140,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[7,23,1352,173,177,29,5613,174,266,867,384,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","26.7×33.7cm",[],{"id":43142,"slug":43143,"title":43144,"dynasty":18,"author":5270,"museum":206,"description":43145,"tags":43146,"thumbUrl":43147,"material":27,"size":43148,"collection":139,"collections":43149,"showCount":426,"zanCount":2209,"manualWeight":48,"mainColor":629},221629,"xian-mang-tu-zhou-ma-he-zhi-221629","闲忙图轴","马和之：南宋画家，钱塘（今浙江省杭州市）人。擅长画人物、佛像、山水。他的人物画受吴道子、李公麟影响而又有所变化，能独创一格。中国传统人物 画衣纹十八描中的马蝗描就是他把吴道子的兰叶描变化发展而创造出来的。其画用笔起伏顿挫，线条粗细变化较明显，又飘逸流利，显得活泼 潇洒，富于韵律感。他画人物多以水墨为主，即使着色，也比较轻淡，当时人称之为“小吴生”（吴生即吴道子）。",[7,23,24,225,27,106,866,176,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7399dfe9d03dab145ab54a0cfb5655e7.jpg","124.5x67.2",[],{"id":43151,"slug":43152,"title":18222,"dynasty":18,"author":5270,"museum":56,"description":43153,"tags":43154,"thumbUrl":43155,"material":67,"size":43156,"collection":139,"collections":43157,"showCount":426,"zanCount":2209,"manualWeight":48,"mainColor":49},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[7,23,209,25,244,173,24,263,29,106,175,34,176,107,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":43159,"slug":43160,"title":33183,"dynasty":18,"author":1419,"museum":1666,"description":43161,"tags":43162,"thumbUrl":43163,"material":40,"size":43164,"collection":139,"collections":43165,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},221535,"zhou-ren-xing-tu-ma-yuan-221535","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。 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顾，二是为其友人求助。\n释文:孟頫记事顿首再拜，总管相公宗兄阀下，孟頫前者家兄过蒙照管。此皆吾兄以孟頫之故。感激难胜。即日炎热。伏惟尊候胜常。学宾康振系。旧在常学有俸。其人至贫。藉此以活。而近乃有住支之行。望吾兄怜其寒素．特与放支。岂胜幸甚．未由侍教。伏乞倍保尊重。不宣。孟頫顿首再拜。",[7,86,178,2547,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6659b2a3d4dc119eb9f3a12996918b07.jpg","纵29.5cm，横39.6cm",[328],{"id":43208,"slug":43209,"title":43210,"dynasty":99,"author":2494,"museum":7087,"description":43211,"tags":43212,"thumbUrl":43213,"material":81,"size":7091,"collection":139,"collections":43214,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":139},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[7,23,24,173,177,105,29,734,384,175,558,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg",[],{"id":43216,"slug":43217,"title":43218,"dynasty":99,"author":2494,"museum":7087,"description":43219,"tags":43220,"thumbUrl":43221,"material":81,"size":7091,"collection":139,"collections":43222,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":139},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[7,23,173,29,105,177,263,866,229,557,34,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg",[],{"id":43224,"slug":43225,"title":2584,"dynasty":949,"author":43226,"museum":10667,"description":43227,"tags":43228,"thumbUrl":43229,"material":139,"size":139,"collection":139,"collections":43230,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","黄君璧","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[7,23,24,225,27,177,29,1365,466,558,37,468,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":43232,"slug":43233,"title":43234,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":43235,"thumbUrl":43236,"material":699,"size":4054,"collection":139,"collections":43237,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},220325,"huang-shan-tu-ce-5-hong-ren-220325","黄山图册-5",[7,23,24,81,173,177,29,229,1365,106,1266,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48c1a6440b9359b890d503ad1a69aae.jpg",[],{"id":43239,"slug":43240,"title":43241,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":43242,"thumbUrl":43243,"material":699,"size":4054,"collection":139,"collections":43244,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},220318,"huang-shan-tu-ce-11-hong-ren-220318","黄山图册-11",[7,23,24,81,173,177,29,734,108,109,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8da9dac501fd5659eee07e6c4e5d31.jpg",[],{"id":43246,"slug":43247,"title":43248,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":43249,"thumbUrl":43250,"material":699,"size":4054,"collection":139,"collections":43251,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},220301,"huang-shan-tu-ce-25-hong-ren-220301","黄山图册-25",[7,209,23,24,81,173,29,11363,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537b52c55ec90132c7d498af46f17294.jpg",[],{"id":43253,"slug":43254,"title":43255,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":43256,"thumbUrl":43257,"material":699,"size":4054,"collection":139,"collections":43258,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},220300,"huang-shan-tu-ce-26-hong-ren-220300","黄山图册-26",[7,23,24,81,173,29,176,34,109,466,4969,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33296ed6c8f1aa652e3297eebc981cad.jpg",[],{"id":43260,"slug":43261,"title":43262,"dynasty":99,"author":6896,"museum":1529,"description":43263,"tags":43264,"thumbUrl":43265,"material":699,"size":139,"collection":181,"collections":43266,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},220149,"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[7,23,173,225,29,176,34,1365,108,175,177,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[181],{"id":43268,"slug":43269,"title":43270,"dynasty":189,"author":7354,"museum":132,"description":43271,"tags":43272,"thumbUrl":43273,"material":327,"size":139,"collection":181,"collections":43274,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":49},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[7,209,23,24,25,104,27,106,107,108,109,2278,433,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[181],{"id":43276,"slug":43277,"title":43278,"dynasty":76,"author":278,"museum":1098,"description":43279,"tags":43280,"thumbUrl":43281,"material":409,"size":43282,"collection":181,"collections":43283,"showCount":426,"zanCount":48,"manualWeight":48,"mainColor":94},219980,"luan-shan-za-wu-tu-yi-ming-219980","乱山杂雾图","以水墨晕染层叠峰峦，远山隐在淡墨烟岚间，朦胧空灵似被晨雾轻裹。近崖怪石虬松错落，山坳殿宇半藏，清溪蜿蜒漱石有声，水畔幽人凭石观流。\n\n笔墨干湿互用，勾勒皴擦兼具，写意间不失精微，将朝雾初散的林泉清寂铺陈开来。呼应题画诗意，空山晓境里，仿佛能听见啄木轻响混着梵音溪声，禅意漫溢，尽揽山林静穆之美。",[7,23,173,29,225,177,178,263,30,37,107,34,558,8396,106,9908],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560f7ee714f936fe6b5bf9c7c3125307.jpg","107.9 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（珂罗版）","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[7,23,209,225,173,1365,86,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4af6f1f1656e866d4a31edc64f1ff0.jpg",[],{"id":43532,"slug":43533,"title":43534,"dynasty":76,"author":278,"museum":311,"description":43535,"tags":43536,"thumbUrl":43537,"material":2164,"size":2165,"collection":139,"collections":43538,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":629},290203,"fang-tang-shi-nv-chu-xing-tu-zhou-yi-ming-290203","仿唐 仕女出行图轴","此作分上下铺陈景致，上方松崖间云烟漫卷，侍女高提灯盏引路，身姿柔婉灵动，晕开夜中行旅的清寂氛围。下方三位仕女妆鬓雅致，衣袂线条细劲舒展，顾盼间尽显闺秀娴静温婉的仪态。\n\n整体设色调和古雅，以淡墨晕染云烟山石，衣纹晕染细腻柔润，追摹唐风仕女的秀逸韵致，将深闺夜游的悠然雅致融于画面，尽显传统仕女画含蓄温婉的古典意趣。",[7,23,225,27,106,59,1205,105,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd36a1444a911b279b07c0233084677c5.jpg",[],{"id":43540,"slug":43541,"title":43542,"dynasty":18,"author":323,"museum":311,"description":43543,"tags":43544,"thumbUrl":43545,"material":2164,"size":2165,"collection":139,"collections":43546,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":94},290087,"zhu-shang-zuo-tie-juan-huang-ting-jian-290087","诸上座帖卷","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[7,209,24,86,2570,25,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb24a160f22f01e860157984620e421.jpg",[],{"id":43548,"slug":43549,"title":10828,"dynasty":18,"author":3884,"museum":206,"description":43550,"tags":43551,"thumbUrl":43552,"material":2164,"size":2165,"collection":139,"collections":43553,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},289983,"lu-yan-tu-cui-bai-289983","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[7,209,23,1352,27,28,83,3899,3898,3875,3723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2977e53530733292bf2afc1fd715202.jpg",[],{"id":43555,"slug":43556,"title":43557,"dynasty":18,"author":13896,"museum":311,"description":43558,"tags":43559,"thumbUrl":43560,"material":2164,"size":2165,"collection":139,"collections":43561,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},289842,"song-he-ceng-lou-tu-zhang-dun-li-289842","松壑层楼图","熙宁元年选尚英宗女祁国长公主，授左卫将军、驸马都尉，迁密州观察使。元祐初，疏言：“变法易令，始于王安石，成于蔡确。近者退确进司马光，以臣观之，所得多矣。”进武胜军留后。",[7,23,24,104,29,107,1365,27,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ca23e05a4be037ccdf9ee69a4cddc8.jpg",[],{"id":43563,"slug":43564,"title":41086,"dynasty":18,"author":3884,"museum":311,"description":43565,"tags":43566,"thumbUrl":43567,"material":2164,"size":2165,"collection":139,"collections":43568,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":49},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[7,209,23,25,28,27,83,511,512,696,22461,178,86,1904],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7dcd9dc21885b547b27cbaf1170050.jpg",[],{"id":43570,"slug":43571,"title":22364,"dynasty":99,"author":22365,"museum":311,"description":43572,"tags":43573,"thumbUrl":43575,"material":2164,"size":2165,"collection":139,"collections":43576,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},288827,"shan-zhuang-gao-yi-tu-li-zai-288827","此画曾传为郭熙作，实为李在手笔。这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。",[7,23,225,173,177,29,107,108,109,174,1423,866,466,1253,4969,106,43574],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7de78491754e0443afe228850bafd56.jpg",[],{"id":43578,"slug":43579,"title":2879,"dynasty":18,"author":553,"museum":311,"description":14324,"tags":43580,"thumbUrl":43581,"material":2164,"size":2165,"collection":139,"collections":43582,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":629},288506,"qiu-shan-xing-lv-tu-guo-xi-288506",[7,23,209,1218,173,177,29057,176,1082,109,174,4969,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e7ca9f20e1578206e7ed6d99bcb96.jpg",[],{"id":43584,"slug":43585,"title":43586,"dynasty":18,"author":43587,"museum":311,"description":43588,"tags":43589,"thumbUrl":43590,"material":2164,"size":2165,"collection":139,"collections":43591,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},288490,"ying-gu-tu-ye-li-you-288490","鹰鹘图页","李猷","李猷，宋來洎代画家，河内頭筿（今河南沁阳）人，作品有《画继》。",[7,23,209,24,83,28,4451,7803,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5305ba610e775032a3da38afd47743e.jpg",[],{"id":43593,"slug":43594,"title":43595,"dynasty":18,"author":1677,"museum":311,"description":43596,"tags":43597,"thumbUrl":43598,"material":2164,"size":2165,"collection":139,"collections":43599,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},288459,"xue-mei-tu-ma-lin-288459","雪梅图","此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。",[7,1352,23,83,1712,2019,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dcad4bd6428ac052ea136b51a37bf3.jpg",[],{"id":43601,"slug":43602,"title":43603,"dynasty":76,"author":10117,"museum":311,"description":43604,"tags":43605,"thumbUrl":43607,"material":2164,"size":2165,"collection":139,"collections":43608,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},288391,"shuang-mao-kui-yu-cheng-zhang-288391","双猫窥鱼","此图描绘的是一幅秋天的美丽图景。一弯池水迂回流淌，岸边苇草萌发，树枝随风而动，显得遒劲与洒脱。池塘边两只花猫，葡匐在岸上，双眼紧盯着池塘中的游鱼。仿佛在欣赏它们欢快的舞姿，溪水远处，淡色轻染，烟霭迷濛。全画以水墨设色技法来表现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是由于画家懂得生物百态，所以画的石头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能合乎自然景物的真实性。并运用干、湿、浓、淡的笔法墨法所造成的变化，整体显得儒雅、秀润。",[7,23,225,27,807,783,1423,866,229,43606,38546],"衰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0a9a7444833f2d873b38ff11d8ab76.jpg",[],{"id":43610,"slug":43611,"title":43612,"dynasty":18,"author":278,"museum":311,"description":43613,"tags":43614,"thumbUrl":43615,"material":2164,"size":2165,"collection":139,"collections":43616,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},288198,"xue-jing-dai-du-tu-yi-ming-288198","雪景待渡图","以淡墨晕染铺就江天寒寂，留白尽展冬日空濛。岸渚之上枯木虬枝错落，寒叶稀疏，旅人裹衣伫立石畔，引颈遥望江心，待渡的怅然悄然弥散。远山隐在氤氲寒雾中，只剩淡远轮廓，寒鸦掠过长空，更添清寥。江面寥寥淡笔勾出水波，扁舟隐约浮沉，似正缓缓渡来。\n\n全幅未施白粉，却以墨色浓淡晕出积雪凝寒之意，将冬日江渡的萧索宁静揉入尺幅之间，尽显山水留白的悠远意趣，把萧寒冬日里的羁旅况味藏在淡墨清岚之中，清冷空寂直入人心。",[7,1352,23,173,29,2019,865,229,266,39695,2789],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32408b9658940e6f1d83b48259817af5.jpg",[],{"id":43618,"slug":43619,"title":43620,"dynasty":99,"author":43621,"museum":311,"description":43622,"tags":43623,"thumbUrl":43624,"material":2164,"size":2165,"collection":139,"collections":43625,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":49},287943,"shan-que-shuang-tu-tu-li-yong-287943","山鹊双兔图","李鄘","李鄘（yōng）（？－820年9月14日 ），字建侯。鄂州江夏县（今湖北省武汉市武昌区）人。唐朝宰相，江夏太守李邕从孙。\n李鄘出身“江夏李氏” 。唐代宗时登进士第，补秘书省正字，擢累吏部员外郎，进御史中丞。唐宪宗时，由河东节度使被召拜为门下侍郎、同平章事（宰相）。晚年以太子少傅致仕，累封江夏县开国侯。\n元和十五年（820年），李鄘去世，追赠太子太保，谥号“肃”。《唐文拾遗续拾》录有其文一篇",[7,23,28,27,2234,266,866,558,3567,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0a93abe923ed1343f9eb30ea9c799f.jpg",[],{"id":43627,"slug":43628,"title":43629,"dynasty":76,"author":43630,"museum":311,"description":43631,"tags":43632,"thumbUrl":43633,"material":2164,"size":2165,"collection":139,"collections":43634,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},287933,"ge-zhen-fu-xiang-juan-ceng-jing-287933","葛震甫像卷","曾鲸","字波臣，福建莆田人，中国明代画家。一生往来江浙一带，为人写真。擅画肖像，在继承粉彩渲染传统技法的同时，汲取西洋画的某些手法，形成注重墨骨，层层烘染，立体感强的独特画法。所画人物肖像强调观察体会，抓住最动人处，精心描绘，尤注重点睛，形象逼真，栩栩如生，有“如镜取影，俨然如生”之誉，从学者甚众，遂形成“波臣派”。",[7,23,25,36267,173,27,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ef4a2f08f7f0710ad60aa6cf8149cb.jpg",[],{"id":43636,"slug":43637,"title":43638,"dynasty":99,"author":10349,"museum":311,"description":43639,"tags":43640,"thumbUrl":43641,"material":2164,"size":2165,"collection":139,"collections":43642,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},287799,"ren-wu-yi-wu-wei-287799","人物一","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[7,23,173,106,150,1542,1322,866,467,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4c1954e8fb2a5e143379421bc0fea1.jpg",[],{"id":43644,"slug":43645,"title":43646,"dynasty":99,"author":1150,"museum":311,"description":43647,"tags":43648,"thumbUrl":43649,"material":2164,"size":2165,"collection":163,"collections":43650,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[7,23,25,1218,27,177,176,31,174,4970,107,108,1082,6005,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[163],{"id":43652,"slug":43653,"title":14490,"dynasty":99,"author":936,"museum":311,"description":9950,"tags":43654,"thumbUrl":43655,"material":2164,"size":2165,"collection":139,"collections":43656,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":49},287779,"shan-shui-ren-wu-tu-chen-hong-shou-287779",[7,23,209,24,225,27,106,29,403,402,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46687b0740b7c2ccb5b7e47413c318.jpg",[],{"id":43658,"slug":43659,"title":43660,"dynasty":76,"author":4406,"museum":311,"description":43661,"tags":43662,"thumbUrl":43663,"material":2164,"size":2165,"collection":139,"collections":43664,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},287766,"lin-ni-yun-lin-shan-shui-wang-jian-287766","临倪云林山水","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[7,209,23,173,29,225,105,865,3024,1265,3875,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6176eb91d0b5026fde9245d39c7a0089.jpg",[],{"id":43666,"slug":43667,"title":43668,"dynasty":18,"author":16226,"museum":311,"description":22280,"tags":43669,"thumbUrl":43670,"material":2164,"size":2165,"collection":139,"collections":43671,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":629},287738,"hong-shu-qiu-shan-tu-xiao-zhao-287738","红树秋山图",[7,209,23,29,225,27,177,108,109,107,176,34,466,7002,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad91b75dccb4b91ad72e5c123b39c43f.jpg",[],{"id":43673,"slug":43674,"title":18204,"dynasty":99,"author":29382,"museum":311,"description":43675,"tags":43676,"thumbUrl":43677,"material":2164,"size":2165,"collection":139,"collections":43678,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},283648,"mei-hua-tu-zhou-liu-shi-ru-283648","字继相，号雪湖（明画录作名继相，历代画史汇传误为二人：一刘世儒字继相，一刘士儒号雪湖），山阴（今浙江绍兴）人。",[7,23,225,173,83,402,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712549c9041e1c8aca5a53f3a6fae5c7.jpg",[],{"id":43680,"slug":43681,"title":43682,"dynasty":99,"author":16327,"museum":20,"description":43683,"tags":43684,"thumbUrl":43685,"material":699,"size":43686,"collection":328,"collections":43687,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},240261,"li-bai-gu-feng-shi-juan-wang-chong-240261","李白古风诗卷","《李白古风诗》释文\n本幅款署“雅宜山人王宠书”。钤“王履吉印”、“韡韡斋”，迎首钤“大雅堂”。收藏印钤“侯宝璋心赏”、“玉华堂绝品”、“玉华堂紫箫客”、“青萝山馆”、“披肝沥胆”。卷后有裘曰修、侯宝璋题跋。\n《李白古风诗》共8首，用金粟山藏经纸书写。此纸质地硬，纸面光滑，故笔墨线条清晰可辨，用笔转折历历在目。书法体势宽博疏拓，笔法丰沉圆遒，字形婉转结势，姿态奇特。王世贞曾评王宠书：“虽结法小疏，而天骨烂然，姿态横出，有威风千仞之势。”卷后裘曰修言：“雅宜山人书法大令，天骨秀拔，风神疏朗，名重一时。”",[7,86,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86aa414d3f7a5ee8c6b8c6314c6ce2ef.jpg","纵26.8厘米, 横771厘米",[328],{"id":43689,"slug":43690,"title":43691,"dynasty":189,"author":43692,"museum":20,"description":43693,"tags":43694,"thumbUrl":43695,"material":699,"size":43696,"collection":328,"collections":43697,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":94},239630,"guo-jing-xing-he-liang-long-ji-shi-juan-guo-bi-239630","郭景星和梁隆吉诗卷","郭畀","释文：\n太常金奉礼宴翰苑诸公，出青玉荷盘，色奇古。盘之上擎杯，象莲蓬，下屈为柄，上覆为盖。盖青质而紫章，凡十九点，匠氏剜为莲房，殆夺天巧。嘱丹杨郭畀赋诗。诗固未足为杯盘夸，然将来或可讬诗以传也。碧云亭亭水天永，翠盖翻风堕秋影。文姬团扇感初凉，露华乱落明珠冷。紫茎绿叶歌秋兰，涉江折得烟蓬还。前缘已被专房误，守宫血点犹斑斑。麴生解后夸奇特，倒卷沧溟供一吸。太华峰高归路遥，但觉满怀春拍拍。俗眼傲睨瑠璃钟，金罍未用争夸雄。古诗调高和者寡，拟唤杜陵醉中把。至治初元修禊日。\n钤“郭畀天锡”印。鉴藏印有“砚溪清玩”、“年羹尧字亮工别号双峰”、“唐翰题审定”、“陆树声鉴赏章”等6方。\n按清唐翰题言，其先得到俞希鲁书《郭天锡文集序》，后又陆续得到郭畀书《郭景星和梁隆吉诗》以及《青玉荷盘诗》，因之合装成一卷，名为《郭氏诗翰卷》，并跋于卷后，以识本末。《青玉荷盘诗》之序记述了书此诗的原由：“太常金奉礼宴翰苑诸公，出青玉荷盘”，其盘的制作“殆夺天巧”，故赋诗以赞之。按俞序书于至正十五年（1355年）八月既望，此时郭畀已卒，“今二十余年矣”。序文又称郭氏“年才五十六耳”。徐邦达先生据此推断郭畀约生于元世祖至元十七年（1280年），约卒于惠宗至元元年（1335年）。《青玉荷盘诗》书于至治初元，作者时年约42岁。\n本诗卷书法得赵孟頫形骸，是元人中师法赵孟頫之佳者。结构疏密得宜，笔画劲挺磊落，点画精美，运笔娴熟，有一定的艺术水平。",[7,86,24,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472e9363bb29dbc628bbfe02b0198f5f.jpg","纵29.3厘米，横56.2厘米",[328],{"id":43699,"slug":43700,"title":43701,"dynasty":189,"author":645,"museum":20,"description":43702,"tags":43703,"thumbUrl":43704,"material":40,"size":43705,"collection":328,"collections":43706,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},239629,"lin-huang-ting-jing-juan-zhao-meng-fu-239629","临黄庭经卷","赵文敏公画右军像临黄庭经 此卷卷首绘王羲之像，面部刻画简略，人物衣纹勾写乏力，后以楷书临写王羲之书《黄庭经》，点画柔弱，结体松散。",[7,24,105,621,86,622,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedff847bde7562ab12e2687af4d71457.jpg","纵28.5厘米，横116厘米",[328],{"id":43708,"slug":43709,"title":27194,"dynasty":18,"author":323,"museum":20,"description":27195,"tags":43710,"thumbUrl":43711,"material":43712,"size":27198,"collection":328,"collections":43713,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},239568,"huan-hua-xi-tu-yin-juan-huang-ting-jian-239568",[7,209,23,24,25,86,2570,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04f97021a5b9dd0a7e8b62152a814a8.jpg","纸本，草书",[328],{"id":43715,"slug":43716,"title":9487,"dynasty":99,"author":35170,"museum":311,"description":43717,"tags":43718,"thumbUrl":43719,"material":1271,"size":139,"collection":139,"collections":43720,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234246,"hua-hui-tu-juan-chen-gua-234246","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[7,23,24,25,173,244,83,402,406,226,407,369,405,404,264,229,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":43722,"slug":43723,"title":34046,"dynasty":76,"author":7940,"museum":101,"description":28240,"tags":43724,"thumbUrl":43725,"material":573,"size":43726,"collection":139,"collections":43727,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202",[7,23,25,29,173,177,27,2019,557,31,34,865,1365,35,108,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":43729,"slug":43730,"title":43731,"dynasty":99,"author":11163,"museum":20,"description":11164,"tags":43732,"thumbUrl":43733,"material":1271,"size":139,"collection":139,"collections":43734,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷",[7,23,24,25,173,178,263,86,226,29,229,34,106,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":43736,"slug":43737,"title":43738,"dynasty":18,"author":1395,"museum":20,"description":25199,"tags":43739,"thumbUrl":43740,"material":25202,"size":25203,"collection":139,"collections":43741,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},233132,"cai-wei-tu-juan-li-tang-233132","采薇图卷",[7,23,24,25,173,27,28,177,106,29,34,558,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6db3df0be865cf051082196fc209b4d.jpg",[],{"id":43743,"slug":43744,"title":43745,"dynasty":76,"author":16965,"museum":1529,"description":43746,"tags":43747,"thumbUrl":43749,"material":3812,"size":43750,"collection":139,"collections":43751,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},232899,"xiao-xiang-feng-zhu-tu-li-zhou-li-fang-ying-232899","潇湘风竹图立轴","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[7,209,23,24,225,173,400,2568,4272,43748,229,12037],"风竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5644cd4993b2c84cb1ddba935665f65d.jpg","纵168.3厘米 横67.7厘米",[],{"id":43753,"slug":43754,"title":18204,"dynasty":76,"author":43755,"museum":311,"description":43756,"tags":43757,"thumbUrl":43758,"material":699,"size":25801,"collection":139,"collections":43759,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},232893,"mei-hua-tu-zhou-wu-yan-ru-232893","吴彦儒","所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。",[7,23,24,225,173,402,866,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ee64b408a7fa0e64c57bda2c32bf75.jpg",[],{"id":43761,"slug":43762,"title":43763,"dynasty":99,"author":29124,"museum":311,"description":43764,"tags":43765,"thumbUrl":43766,"material":139,"size":139,"collection":139,"collections":43767,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},231944,"qi-que-tu-bian-jing-zhao-231944","栖雀图","边景昭，字文进，明代宫廷花鸟画家。福建延平府沙县（今福建沙县）人，祖籍陇西（今属甘肃）人，生卒年不详。永乐年间（1403-1442）任武英殿待诏，至宣德时（1426-1435）仍供奉内廷。后为翰林待诏，常陪宣宗朱瞻基作画。他为人旷达洒落，且博学能诗。他继承南宋“院体”工笔重彩的传统，其作品工整清丽，笔法细谨，赋色浓艳，高雅富贵。有“花之妖笑，鸟之飞鸣，叶之蕴藉，不但勾勒有笔，其用笔墨无不合宜”之说。边景昭的墨线气力十足，变化丰富，精谨细微，柔韧相宜。\n边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制；",[7,939,23,24,209,28,27,83,370,926,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd108c88026e1927f3fdb31455cb6c.jpg",[],{"id":43769,"slug":43770,"title":43771,"dynasty":76,"author":1584,"museum":311,"description":43772,"tags":43773,"thumbUrl":43774,"material":139,"size":15118,"collection":139,"collections":43775,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[7,23,27,29,105,177,263,5727,34,176,108,114,2310,2137,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcdb306f6f1c438ff6380f1ec5787a6.jpg",[],{"id":43777,"slug":43778,"title":43779,"dynasty":18,"author":278,"museum":206,"description":43780,"tags":43781,"thumbUrl":43782,"material":123,"size":43783,"collection":42,"collections":43784,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[7,209,23,24,28,27,83,11679,226,266,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[42],{"id":43786,"slug":43787,"title":43788,"dynasty":76,"author":43789,"museum":311,"description":43790,"tags":43791,"thumbUrl":43792,"material":139,"size":139,"collection":139,"collections":43793,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},230889,"xiong-ji-ju-shi-tu-li-shi-zhuo-230889","雄鸡菊石图","李世倬","这幅水墨写意之作，以雄鸡为主体，踞石而立。铁爪紧扣岩块，冠髯抖擞，尾羽如墨色长剑斜斜舒展，笔意纵逸苍劲，以浓淡墨色晕染出羽毛蓬松肌理，寥寥数笔便将雄鸡骄悍英武之态尽显，形神兼备。\n\n旁侧秋菊斜枝而出，墨花点染间浓淡错落，枯涩枝桠衬出晚秋清逸萧疏的意韵，与雄鸡的刚健相得益彰。右上角行书题诗，笔墨与画意相映，添就悠长文人意趣。\n\n整作笔力苍浑兼具秀润，以极简水墨写尽物象风神，将禽鸟野逸与花草清隽相融，借物抒怀，把秋日生机与雄鸡傲骨铺陈纸上，尽显写意花鸟以形写神的妙处。",[7,209,23,24,225,173,83,4760,407,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4355cfcff03a1ce87b1b057424bf8d.jpg",[],{"id":43795,"slug":43796,"title":14298,"dynasty":76,"author":582,"museum":311,"description":43797,"tags":43798,"thumbUrl":43799,"material":139,"size":139,"collection":139,"collections":43800,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},230872,"tan-mei-tu-leng-mei-230872","此作以冬日寻梅铺陈景致，主仕女身着宝蓝团花长袄，容色温婉端凝，侍童撑伞随侍身侧，另有侍女捧炉趋前，暗递融融暖意。寒梅虬枝缀满繁花，淡赭远山衬着素朴亭台，苍劲皴石古拙静立，设色雅致沉稳，勾勒细腻写实。将深闺仕女探春寻幽的闲情逸趣，融于萧寒冬景，冷暖色调交织，既绘就隆冬清寂况味，又晕染出闺中雅游的温婉意韵，写实工细间尽显雅致情致，把仕女矜贵闲适的情态，与冬日园林的清寒雅致完美糅合，静穆中暗藏鲜活的闺中闲趣。",[7,23,27,28,106,59,4304,402,29,176,107,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaafd8ade9438d3959f176e539370fad.jpg",[],{"id":43802,"slug":43803,"title":4312,"dynasty":99,"author":2494,"museum":311,"description":43804,"tags":43805,"thumbUrl":43806,"material":139,"size":139,"collection":139,"collections":43807,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},230850,"gao-yi-tu-dong-qi-chang-230850","此作用笔松秀灵动，以干笔枯墨绘就，兼施淡墨晕染。画面分远中近三境，远山以淡墨轻扫，虚灵空濛，似含烟霭；中平湖如镜，汀渚错落，漾出澹澹清寂；近景枯木虬曲苍古，姿态疏朗萧散，尽显荒寒雅逸之气。\n\n以书入画，笔墨间自带文人疏淡风骨，删繁就简，褪去实景冗杂，独留山水精神，将林下高贤寄情丘壑、坐忘林泉的隐逸意趣藏于尺幅之间，静穆清寂的氛围里，尽显文人画尚意重韵的极致品格。",[7,23,24,173,177,178,86,29,34,1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的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[7,23,24,25,29,27,173,178,621,263,177,734,282,175,384,558,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":43865,"slug":43866,"title":43867,"dynasty":99,"author":936,"museum":311,"description":9950,"tags":43868,"thumbUrl":43869,"material":2164,"size":2165,"collection":139,"collections":43870,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},228283,"ting-die-tu-chen-hong-shou-228283","听蝶图",[7,23,24,225,27,28,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efe86ca90f6efa2eb1ee0012fc34988.jpg",[],{"id":43872,"slug":43873,"title":43874,"dynasty":189,"author":8083,"museum":311,"description":43875,"tags":43876,"thumbUrl":43882,"material":139,"size":139,"collection":139,"collections":43883,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":94},228250,"tai-ping-feng-hui-tu-zhu-yu-228250","太平风会图","以白描淡彩铺展全景长卷，笔底尽揽闾阎繁盛。\n卷中人物鳞次栉比，行商、百工、农人、仕女各持情态，衣纹线条劲挺秀逸，设色清雅柔润，将细碎日常的烟火气悉数铺陈：市集喧闹里货郎呼喝，田垄间耕者不辍，酒肆中宾主尽欢，百态群像虽身形微小却神完气足。\n此作以极细致的体察，将太平治下的世间风物凝于素纸，既是风俗长卷，亦是时代的鲜活切片，朴拙古雅的笔墨间，藏着对升平世象的温柔描摹。",[7,209,23,25,244,27,106,1656,117,43877,1970,43878,43879,43880,1205,15053,43881],"田垄","行商","百工","农人","升平气象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc17c832f83e0deaaa4cc178b9a2fa52.jpg",[],{"id":43885,"slug":43886,"title":43887,"dynasty":189,"author":278,"museum":206,"description":43888,"tags":43889,"thumbUrl":43890,"material":712,"size":43891,"collection":139,"collections":43892,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":49},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[7,23,24,25,26,27,28,29,106,150,107,34,176,31,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":43894,"slug":43895,"title":43896,"dynasty":189,"author":3051,"museum":311,"description":43897,"tags":43898,"thumbUrl":43899,"material":139,"size":139,"collection":139,"collections":43900,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},228175,"tong-xi-tu-qian-xuan-228175","童戏图","古柳垂荫，榴花绽艳，庭院间三个稚童正嬉游作乐。矮凳上狸奴蜷卧，一孩童伸指逗弄，身侧同伴探首凝神，满眼好奇。最后小童攥着花枝蹑步而来，似要悄然加入嬉玩。\n\n整幅画笔法工细柔婉，设色古澹沉静，将幼童的娇憨鲜活尽数铺展。花木湖石衬出悠然闲趣，把孩童嬉游的日常瞬景定格，晕开旧时光里的融融暖意，尽显婴戏画的温婉雅致，将稚拙童趣藏进古雅绢色之中。",[7,23,209,24,225,27,28,106,384,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9b5cb209a420e718e41ff884f85df8.jpg",[],{"id":43902,"slug":43903,"title":43904,"dynasty":189,"author":4438,"museum":311,"description":43905,"tags":43906,"thumbUrl":43907,"material":139,"size":139,"collection":139,"collections":43908,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[7,23,24,25,27,29,177,734,282,174,34,106,109,175,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":43910,"slug":43911,"title":24041,"dynasty":189,"author":4438,"museum":311,"description":43912,"tags":43913,"thumbUrl":43914,"material":139,"size":139,"collection":139,"collections":43915,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[7,23,24,81,173,177,27,29,34,174,108,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":43917,"slug":43918,"title":43919,"dynasty":189,"author":43920,"museum":311,"description":43921,"tags":43922,"thumbUrl":43923,"material":139,"size":139,"collection":139,"collections":43924,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":49},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[7,23,24,209,25,173,177,29,1365,176,109,108,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":43926,"slug":43927,"title":43928,"dynasty":18,"author":7213,"museum":311,"description":43929,"tags":43930,"thumbUrl":43931,"material":139,"size":139,"collection":139,"collections":43932,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[7,209,23,24,81,27,104,177,29,174,107,1423,866,109,1422,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":43934,"slug":43935,"title":43936,"dynasty":18,"author":278,"museum":311,"description":43937,"tags":43938,"thumbUrl":43939,"material":139,"size":139,"collection":139,"collections":43940,"showCount":199,"zanCount":1337,"manualWeight":48,"mainColor":94},227883,"ju-zhi-qi-que-tu-yi-ming-227883","橘枝栖雀图","此作以精妙工笔绘就一隅小景，折枝垂挂硕实，苍嫩叶片交错枯润，尽显四时意态。枝头雀鸟侧身回望，翎毛细笔丝染，绒羽蓬松柔润，尖喙双目传神，机警灵动的情态跃然绢上。\n\n设色清淡秀雅，以赭石淡晕底色，敷色薄而清透，橘子的莹润饱满、枝叶的错落枯荣被细腻呈现。画面简而不空，静中藏动，尽显对日常小景的诗意捕捉，将山野间的幽微生机凝于尺幅之中，暗含平和雅致的东方意趣。",[7,209,23,24,28,27,83,4950,4541,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc28cde67f818c1de2943a9abaf3b21.jpg",[],{"id":43942,"slug":43943,"title":43944,"dynasty":18,"author":278,"museum":311,"description":43945,"tags":43946,"thumbUrl":43947,"material":139,"size":139,"collection":139,"collections":43948,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227844,"tian-han-cui-xiu-tu-ye-yi-ming-227844","天寒翠袖图页","修竹清劲挺拔，攒簇竹叶如凝寒玉，占据画面大半篇幅，衬出林间孑然伫立的仕女。她翠袖轻拢，身姿娴静温婉，眉目间似含淡淡怅惘，将深秋萧寒里的孤寂弥散开来。\n\n整作设色淡雅克制，墨骨清劲利落，沉郁的古绢底色晕开幽寂的林下意趣，把闺中闲愁融于萧索秋景，淡而不寡。以极简的铺陈，藏着宋人极致内敛的审美意趣，余味悠长。",[7,209,23,24,81,27,106,59,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7e186a0386cb73f8d03ff13ba9b12f.jpg",[],{"id":43950,"slug":43951,"title":43952,"dynasty":18,"author":1699,"museum":311,"description":43953,"tags":43954,"thumbUrl":43955,"material":139,"size":139,"collection":139,"collections":43956,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227804,"yao-tai-xian-shou-tu-liu-song-nian-227804","瑶台献寿图","此作用笔精工雅致，以界画技法勾勒亭台楼阁，回廊层台错落排布，将庭院深幽的意趣铺展尽致。山石林木以淡墨晕染，苍润秀雅，与规整楼宇相映成趣。\n\n画中人物神态宛然，峨冠士人凭栏雅谈，侍女垂手侍立，情态恭谨恬然，将安闲雍容的祝寿雅集氛围烘托恰到好处。设色古淡沉静，墨色相融，既有界画的严整工细，又不失山水画的灵动苍润，尽显精妙工致的院体画风韵，把富贵闲适的雅致意趣藏于笔间，堪称工笔楼阁人物的佳构。",[7,23,24,209,27,104,28,106,107,9533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a1bfb0f093b400631a62b7bf5b38e4.jpg",[],{"id":43958,"slug":43959,"title":43960,"dynasty":18,"author":1699,"museum":311,"description":43961,"tags":43962,"thumbUrl":43963,"material":139,"size":139,"collection":139,"collections":43964,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","苍松浓荫遮蔽出一方清寂天地，琴案横陈，炉烟似随着琴音袅袅轻扬。抚琴者身姿舒展，指尖落弦仿佛有声，将心绪尽数寄于丝弦之上。对面长者垂眸敛神，身心都沉湎在悠悠琴韵之中，连身侧侍立的小童都屏息静立，不敢惊扰这片刻雅静，周遭的幽草矮竹也似在凝聆听赏。\n\n画作以浓墨点染苍劲松针，淡墨勾勒人物衣纹，线条清劲简练。将宋代文人追求的林下雅逸，凝缩在尺幅之间，把知己相对、琴音寄怀的超然意趣铺陈开来，静穆悠然的禅意弥散在画面里，尽显文人雅集的清旷疏朗之美。",[7,209,23,24,1352,28,27,106,403,226,385,210,5310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b81c56fb1a8b0fc313ca776e3e8f2af.jpg",[],{"id":43966,"slug":43967,"title":43968,"dynasty":18,"author":21017,"museum":311,"description":43969,"tags":43970,"thumbUrl":43971,"material":139,"size":139,"collection":139,"collections":43972,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227778,"yuan-yang-tu-wan-shan-zhang-mao-227778","鸳鸯图纨扇","《双鸳鸯图》页，宋，张茂绘，纨扇页，绢本，设色，纵24.4厘米，横18.3厘米。\n\n本幅款识：“张茂”。\n\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。\n\n画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二\n只，它们的顾盼关系使得上半部画面更加充实生动。\n\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n\n存《纨扇画》册中。《石渠宝笈初编》著录。",[7,209,23,24,1352,28,27,83,2053,3899,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab6dc118a52cfd44c31806284697cf7.jpg",[],{"id":43974,"slug":43975,"title":43976,"dynasty":18,"author":1395,"museum":311,"description":43977,"tags":43978,"thumbUrl":43979,"material":139,"size":139,"collection":139,"collections":43980,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[7,209,23,24,25,105,177,173,27,86,263,29,174,1542,109,176,34,229,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":43982,"slug":43983,"title":23035,"dynasty":18,"author":676,"museum":311,"description":43984,"tags":43985,"thumbUrl":43986,"material":139,"size":139,"collection":139,"collections":43987,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[7,23,24,25,244,27,106,29,175,108,109,174,34,107,86,263,115,118,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":43989,"slug":43990,"title":43991,"dynasty":18,"author":5878,"museum":311,"description":43992,"tags":43993,"thumbUrl":43994,"material":139,"size":139,"collection":139,"collections":43995,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":49},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[7,209,23,24,1004,28,27,106,8652,115,298,34,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],{"id":43997,"slug":43998,"title":43999,"dynasty":18,"author":18886,"museum":311,"description":44000,"tags":44001,"thumbUrl":44003,"material":139,"size":139,"collection":139,"collections":44004,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[7,209,23,24,25,173,27,177,86,178,263,29,33403,44002,30,115,34,176],"风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":44006,"slug":44007,"title":44008,"dynasty":18,"author":278,"museum":311,"description":44009,"tags":44010,"thumbUrl":44011,"material":139,"size":139,"collection":139,"collections":44012,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[7,23,209,24,1352,173,27,29,2019,34,35,176,177,1776,4969,109,557,13661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":44014,"slug":44015,"title":44016,"dynasty":18,"author":30264,"museum":311,"description":44017,"tags":44018,"thumbUrl":44019,"material":2164,"size":2165,"collection":139,"collections":44020,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227329,"yan-guan-gu-si-tu-ye-jia-shi-gu-227329","严关古寺图页","贾师古，生卒年不详，南宋画家。汴（今河南开封）人，善画道释人物，师法李公麟。高宗绍兴时为画院祗候。白描人物，颇得闲逸自在之状。尝作《归去来图》，有所谓“一笔法”，甚古雅。梁楷为其高足，名过其师。传世作品有《岩关古寺图》、《大士像》等。",[7,23,24,81,27,177,263,29,1365,176,30267,1265,3710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f001dee4f7caf5c80f9cbb0734173ec.jpg",[],{"id":44022,"slug":44023,"title":20652,"dynasty":204,"author":13531,"museum":311,"description":44024,"tags":44025,"thumbUrl":44026,"material":139,"size":139,"collection":139,"collections":44027,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227270,"xia-re-tie-yang-ning-shi-227270","《夏热帖》，五代，杨凝式书，纸本，手卷，纵23.8厘米，横33厘米。草书8行，共32字。\n《夏热帖》是杨凝式写的一封信札。内容大致是，因天气炎热，送给僧人消夏饮料“酥密水”表示问候。\n释文：\n“凝式啓：夏熱體履佳宜，長□酥密水，即欲致法席，苦□□□乳之供，酥似不如也。(以下数字残损难识)病？(下二行残损)。”\n首署款：“凝式”。\n后纸有宋王钦若，元鲜于枢、赵孟頫，清张照题跋及乾隆皇帝的释文。\n卷前后及隔水上钤有宋“賢志堂印”，元赵孟頫，明项元汴，清曹溶、纳兰成德、清内府等鉴藏印。另有数方古印不辨。\n此帖是杨凝式唯一的传世草书作品，书法兼取唐颜真卿、柳公权笔法，体势雄奇险崛，运笔爽利挺拔，《神仙起居法》有异曲同工之妙，为杨凝式书法代表作品作之一。\n此帖曾刻入《三希堂法帖》。\n明汪砢玉《珊瑚网书跋》，清吴其贞《书画记》、顾復《平生壮观》、卞永誉《式古堂书画汇考》、内府《石渠宝笈·初篇》等书著录。",[7,2570,86,24,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c764be838b3a960970b6f300cc2fe6b.jpg",[],{"id":44029,"slug":44030,"title":44031,"dynasty":54,"author":26871,"museum":311,"description":44032,"tags":44033,"thumbUrl":44035,"material":139,"size":139,"collection":139,"collections":44036,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227249,"dou-niu-tu-dai-song-227249","斗牛图","《斗牛图》传为唐代画家 所画的绢本水墨画，现藏于台北故宫博物院。\n此图绘两牛相斗的场面，风趣新颖。\n一牛前逃，似力怯，另一牛穷追不舍，低头用牛角猛抵前牛的后腿。\n双牛用水墨绘出，以浓墨绘蹄、角，点眼目、鬃毛，传神生动地画出斗牛的肌肉张力、逃者喘息逃避的憨态、击者蛮不可挡的气势。\n牛之野性和凶顽，尽显笔端。\n图中画两牛相斗，一头牛用角觝触，另一牛却旋转著身子，好像虽败而欲再迎战。\n此幅画牛，身驱颇为健壮，大有蛮劲足以力仆万人之慨。\n图中右上方有乾隆题诗：“角尖项强力相持，蹴踏腾轰各出奇。\n想是牧童指点后，股间激露尾垂垂。\n” 中国人对于牛的图腾崇拜，可以追溯到4年前的大禹治水时期。\n传说大禹每治好一处水患，就要铸铁牛投入水底，以示镇压，等到了唐代，就将镇水的铁牛改设岸上了。\n在中国老百姓的眼中，牛更多的美德是埋头苦干而从无怨言的品质，是勤劳的象征。\n然而，野牛的彪悍好斗却也是人所共知的。\n世界上不少民族都有“斗牛”的传统风俗，而我国的斗牛习俗，则要溯源至公元前2年春秋战国时期。\n据《水经注》记载：秦李冰治蜀，为根治水患造福蜀地百姓而修建“都江堰”，触怒了江神，两者化作两头公牛激烈搏斗，李冰在下属的帮助下刺杀了江神，从此蜀地再无水患。\n蜀人敬仰李冰的勇敢果决，遂将体格健壮的青年称作“冰儿”，而斗牛也就成为蜀人历史悠久的习俗：宋初编纂的《太平广记》就记载汉晋之后蜀地已流行斗牛之戏。\n出身书香门第的戴嵩从小热衷书画，水牛画得很好，年少即有名。\n《斗牛图》就是他创作的关于“牛”题材绘画之一。\n关于此图是否是戴嵩真迹还有争议，从其画风观之，此作或属明中期以前辗转流传的摹本。\n画面上一牛昂首腾空，前蹄离地，作躲闪状，看似已斗不过，也许在作迂回战，以逃状作避，伺机反扑；另一牛，鼓足力气，急速猛冲，低头侧目，四肢有力蹬地，将一只垮角猛击逃牛的后腿。\n呈现出一场激烈厮杀的惊险场面。\n画家用水墨淋漓、笔触刚健的艺术形式，画出一窜一追、一抵一昂、一冲一跃的两头牛，浑身绷紧的肌肉，显示牛的强壮有劲；前头那腾空的蹄，那踢蹴的腿，那昂首喘气的憨态；后头那低头猛击的蛮劲，很有将对方挑起猛摔之势；活灵活现地表现了斗牛的野性与凶顽，以及进攻与防御双方的伎俩；此画之所以颇见风趣和新意，是由于画家对牛的牛活和特性有朴殊感受，善于对于一定情势下的牛的特殊表现，作出别出心裁的处理；两牛相斗的动人情节，不止于外形的逼真，而是有情趣的牛的描写，体现了画家的笔墨熟练和细心观察。\n从构图看，画家选择了两牛相斗高潮似刚过去、但搏斗仍在继续这一瞬间的场面，加以刻画，颇见风趣和新意。\n作者以清淡朦胧的背景，在于使人有置于茫野的感受，其目的为了突出主题 。\n烟台大学教授、中国美术家协会会员 ：透过《斗牛图》精湛的表现力，我们还可以体验到作者在哲学上的良好修养。\n那主体、背景的浓、淡对比，那寓静于动的玄妙构图，那失去平衡的稳态造型，无不渗透着本民族古典哲学的精髓。\n这一点在唐以前的作品中是很少见到的。\n由图上题跋可知，该图曾经入清宫，经乾隆帝鉴赏。\n现藏于台北故宫博物院。\n该图收录于：盛京故宫书画录（卷一） ，第一册；故宫书画录（卷八），第四册；故宫书画图录，第十五册。\n戴嵩，唐代画家。\n最初学画时，以 为师，韩滉镇守浙西时，嵩为巡官。\n擅画田家、川原之景，写水牛尤为著名，后人谓得“野性筋骨之妙”。\n相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。\n明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。\n”与韩干之画马，并称“韩马戴牛”。\n传世作品有《斗牛图》。\n牛有青出于蓝的声誉，又擅长于农家风景。\n他的弟弟 也以画牛而闻名。",[7,23,173,209,10270,151,808,106,384,385,44034],"斗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F585082e468b1730f72d9bc88f06964e5.jpg",[],{"id":44038,"slug":44039,"title":44040,"dynasty":8433,"author":278,"museum":311,"description":44041,"tags":44042,"thumbUrl":44043,"material":2164,"size":2165,"collection":139,"collections":44044,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},226533,"tian-bao-zao-xiang-ti-ji-yi-ming-226533","天保造像题记","此拓原石传近年出土于河南许昌，北齐天保五年（公元554年）造。石高三十五厘米、宽四十七厘米，造像左侧有残损，题记在其右侧，共十六行存二百零八字。题记文词尔雅、书法优美，造像更有一种残缺的美感，确为佳品。",[7,86,620,621,243,5406,32058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fa44fe4d45cc94e2cfe0bbc41690c9.jpg",[],{"id":44046,"slug":44047,"title":44048,"dynasty":8433,"author":278,"museum":311,"description":44049,"tags":44050,"thumbUrl":44051,"material":139,"size":139,"collection":2097,"collections":44052,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},226527,"yuan-you-qi-feng-shi-mu-zhi-yi-ming-226527","元诱妻冯氏墓志","北魏景明四年（公元 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cm",[2097],{"id":44064,"slug":44065,"title":44066,"dynasty":76,"author":12256,"museum":311,"description":44067,"tags":44068,"thumbUrl":44069,"material":139,"size":139,"collection":139,"collections":44070,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},224594,"qiu-she-tu-yuan-jiang-224594","秋涉图","此作用硬朗皴笔勾勒出山岩肌理，奇峰高拔陡立，崖间飞瀑隐于云气，晕染出幽谷空濛之态。丹黄秋叶点染古木，萧疏秋意里晕开暖意。山道滩涂之上，行旅商贾或策马涉水，或沿山径徐行，将山野秋行的鲜活意趣融于冷寂山川，添上人间烟火暖意。画面兼工带写，既得北派山水的雄浑气势，又以细腻的人物刻画赋予山水灵动生机，将秋日山野的旷远意境与行旅图景相融，尽显古典山水的雅致意韵。",[7,209,23,24,225,27,29,177,734,282,34,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5727adba9d3c7f163dd3a83df59fa6a.jpg",[],{"id":44072,"slug":44073,"title":44074,"dynasty":76,"author":9090,"museum":311,"description":44075,"tags":44076,"thumbUrl":44077,"material":139,"size":139,"collection":139,"collections":44078,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[7,23,225,29,177,173,557,37,34,35,468,1365,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":44080,"slug":44081,"title":44082,"dynasty":76,"author":9090,"museum":311,"description":44083,"tags":44084,"thumbUrl":44085,"material":139,"size":139,"collection":139,"collections":44086,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224585,"si-jun-zi-tu-zou-yi-gui-224585","四君子图","此作用淡墨晕开空濛远景，留白铺就清寂天地。左侧古松虬枝盘曲，鳞皴苍劲，松针攒簇如团，枯荣交织尽显古拙生机。右侧长松挺立于石畔，与老松两两相望，野竹荒草偃仰生姿，添得山野意趣。\n\n全作以焦墨醒出松节针叶，淡墨晕染坡岸远景，笔法清隽秀雅，未施一色，全凭水墨勾勒晕染，将松柏坚凝君子风骨寄寓萧散小景之中，静穆简淡却暗含蓬勃生气，淡而不寡，简中见厚，尽显清寂雅致的文人意趣与不俗笔力。",[7,23,209,24,173,28,403,226,229,263,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7af38b1cc2ec84ef8742819cb96280.jpg",[],{"id":44088,"slug":44089,"title":44090,"dynasty":76,"author":963,"museum":311,"description":44091,"tags":44092,"thumbUrl":44093,"material":139,"size":139,"collection":139,"collections":44094,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224520,"shan-shui-tu-ce-8-kai-6-zhang-da-qian-jiu-cang-shi-tao-224520","山水图册8开-6-张大千旧藏","近处村舍错落，农人悠然，烟火气晕开山林野趣。中峰以枯笔勒石骨，淡墨晕出山岚，焦墨点苔缀松，干湿浓淡铺展出苍莽层次。右侧题笔朴拙老辣，诗画相映，将秋山萧索寄于木叶疏凉。\n\n笔意纵恣灵秀，不拘成法，以简淡笔墨写尽丘壑生机，把山居隐逸的静穆与山川清旷融为一体，借景抒怀，尽显山野朴拙之态，亦藏画者洒落襟怀。",[7,23,173,27,81,177,29,35,34,557,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb60ef25126ad857219560ef580fe319.jpg",[],{"id":44096,"slug":44097,"title":44098,"dynasty":76,"author":7940,"museum":311,"description":44099,"tags":44100,"thumbUrl":44101,"material":139,"size":139,"collection":139,"collections":44102,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224453,"fu-chun-da-ling-tu-wang-hui-224453","富春大岭图","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[7,23,24,225,27,29,177,30,37,34,468,558,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":44104,"slug":44105,"title":44106,"dynasty":76,"author":40801,"museum":311,"description":44107,"tags":44108,"thumbUrl":44109,"material":139,"size":139,"collection":139,"collections":44110,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[7,23,24,29,173,177,225,30,1365,37,175,106,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":44112,"slug":44113,"title":44114,"dynasty":76,"author":1929,"museum":311,"description":44115,"tags":44116,"thumbUrl":44117,"material":139,"size":139,"collection":90,"collections":44118,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":94},224297,"hua-hui-shi-er-kai-ce-li-shan-224297","花卉十二开册","此画取材寻常蔬食，笔意写意疏朗。茼蒿茎叶以淡绿晕染，线条舒展灵动，尽显菜叶柔润鲜活之态；生姜皴擦朴拙，还原肌理质感，红辣椒设色鲜亮醒目，点亮画面。\n\n搭配题诗与蔬果相映成趣，以日常食材寄寓情志，将烟火清欢融入文人雅趣之中。淡朴的市井风物化作笔下意趣，不见雕琢之迹，尽显冲淡天真的笔墨意韵，于寻常日常里，勾勒出文人画以物明心的雅致情致。",[7,23,24,81,27,178,263,400,4676,7792,4675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad80d7081dfe9a6e575a0b565504dc3.jpg",[90],{"id":44120,"slug":44121,"title":44122,"dynasty":76,"author":44123,"museum":311,"description":44124,"tags":44125,"thumbUrl":44126,"material":139,"size":139,"collection":139,"collections":44127,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224200,"fu-rong-lu-yan-tu-zhou-qiu-jian-224200","芙蓉芦雁图轴","丘鉴","此作兼工带写，空中芦雁振翼俯冲，滩涂三雁昂首和鸣，翎毛纤毫毕现，将雁群互动的鲜活瞬间定格。芙蓉临水盛放，粉瓣柔润饱满，苇草舒展随风曳动，野菊点缀坡岸晕染秋意。\n\n设色雅致柔和，花叶层次晕染自然，禽鸟姿态灵动逼真，恍若能闻雁唳破空。坡岸皴笔简淡，衬出水畔秋日清寂野趣，取景浑然天成，将汀渚生机与秋日闲逸融为一体，写实之中尽显雅致灵韵。",[7,23,24,225,28,27,83,315,404,30756,3899,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741d4deda5f2329d3547762bc74961e0.jpg",[],{"id":44129,"slug":44130,"title":44131,"dynasty":76,"author":1563,"museum":311,"description":44132,"tags":44133,"thumbUrl":44134,"material":67,"size":44135,"collection":44,"collections":44136,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},224175,"bai-xia-xian-lu-tu-zhou-hua-yan-224175","柏下仙鹿图轴","图绘山中平坦处，一棵松柏高大粗壮，树下一只仙鹿卧于地上，鹿身白毛点点，鹿角如树杈般坚挺，两眼炯炯有神；一仙者着红袍似坐于鹿背上，抚摸着鹿角，慈祥安宁；地面上杂草丛生，生机勃勃。",[7,23,24,225,27,106,808,1808,176,737,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97fadb1d653960d1b79110f47c5d39d.jpg","171×124.8厘米",[44,45],{"id":44138,"slug":44139,"title":44140,"dynasty":76,"author":44141,"museum":311,"description":44142,"tags":44143,"thumbUrl":44144,"material":2164,"size":2165,"collection":139,"collections":44145,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224158,"fang-zhao-da-nian-zhou-li-224158","仿赵大年","周笠","周笠，字牧山，清嘉定人，周颢之侄。善刻竹，与周颢齐名。擅长绘画，山水师法元四家，水墨花卉生意盎然。周笠少时与周颢同学画，同刻竹，但各得其意，各不相袭。清人评其作品“生意远出，神气内涵，万点当虚，千层叠起，浑厚中自露秀色”。周笠晚年客居扬州，六十岁而病卒，今传世作品较少。",[7,23,27,29,175,106,384,105,263,86,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe513da2bebf872dfea6fb96b6d62e632.jpg",[],{"id":44147,"slug":44148,"title":44149,"dynasty":99,"author":278,"museum":311,"description":44150,"tags":44151,"thumbUrl":44152,"material":139,"size":139,"collection":139,"collections":44153,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},223608,"zhu-xia-shuang-que-tu-ce-yi-ming-223608","竹下双雀图册","此作用笔工写兼具，淡墨勾勒枯竹枝梢，皴绘坡石，萧疏寒竹自带荒冬清寂之气。两只雀鸟造型写实入微，细笔晕染出绒羽蓬松层次，一只昂首引颈似在啼鸣，灵动有神，一只垂首敛目似在啄望，姿态闲适。双雀动静相映，鲜活尽显。\n\n画面留白素净，将冬日林间的幽寂氛围烘托得恰到好处，简淡笔触却形神兼备，把小雀的灵动意态与寒竹的清疏之景相融，尽显雅致空灵的花鸟意趣，寥寥数笔便将一隅小景勾勒得鲜活动人，藏着清冷又生动的冬日闲趣。",[7,939,23,24,209,81,28,27,83,226,4541,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d0839b8720fe733bc22d19217037bd.jpg",[],{"id":44155,"slug":44156,"title":44157,"dynasty":18,"author":278,"museum":206,"description":44158,"tags":44159,"thumbUrl":44160,"material":573,"size":44161,"collection":139,"collections":44162,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":49},223517,"sang-guo-shan-niao-tu-yi-ming-223517","桑果山鸟图","此图有宫廷画院的工丽之风，却多了几分粗犷率真。画面取一斜伸桑枝，在一细劲的枝条上站立一只山鸟，憨态可掬，嘴里还叼着桑葚，表情很有几分稚趣",[7,209,23,24,28,27,17803,31597,370,83,926,853,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1693f8902501da32c2e9093c661caa4.jpg","纵25.2厘米 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早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[7,23,24,173,244,106,229,403,86,263,243,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 横49.7cm",[],{"id":44405,"slug":44406,"title":40904,"dynasty":18,"author":2483,"museum":206,"description":44407,"tags":44408,"thumbUrl":44409,"material":173,"size":44410,"collection":139,"collections":44411,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},221674,"feng-yan-zhan-juan-zhao-bo-ju-221674","画中的建筑物——敞轩，即所谓的「界画」。古代的风景画或人物画中有建筑物的构图，依赖界尺将建筑物的飞檐、楼阁、楹椽等画得唯肖唯妙，这种有直线的画，称为「界画」。其实界画极难，如非高手绝难胜任。界画是用千万条长短、横直和弯曲的线条交织画成，繁复单调，又不容有一笔差错。如何把呆版的线条绘成生动的画面，就是绘界画最困难之处。",[7,209,23,24,27,28,5604,263,29,175,106,403,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b511f6b89d3f3ff1e22db0037b5b729.jpg","24.9x26.7",[],{"id":44413,"slug":44414,"title":44415,"dynasty":18,"author":16226,"museum":56,"description":44416,"tags":44417,"thumbUrl":44418,"material":40,"size":44419,"collection":139,"collections":44420,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},221662,"qiu-shan-hong-shu-wan-shan-xiao-zhao-221662","秋山红树纨扇","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。画面左下“李唐笔”款系后人添。",[7,209,23,24,1352,27,29,177,5727,7002,34,557,558,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd419556bc9a2308e9386f6b62730944.jpg","纵197.8cm，横111.8cm",[],{"id":44422,"slug":44423,"title":44424,"dynasty":18,"author":1699,"museum":206,"description":38940,"tags":44425,"thumbUrl":44428,"material":67,"size":19637,"collection":139,"collections":44429,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},221553,"luo-han-tu-5-liu-song-nian-221553","罗汉图5",[7,209,23,24,243,28,27,106,384,11064,4778,176,4272,808,658,44426,44427,18311],"虬树","小和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f3e58b37ca2ec5227fa60b958ee26e.jpg",[],{"id":44431,"slug":44432,"title":27434,"dynasty":18,"author":1699,"museum":56,"description":27435,"tags":44433,"thumbUrl":44437,"material":573,"size":44438,"collection":139,"collections":44439,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548",[7,23,1218,1352,28,10897,1842,26,27,28162,44434,44435,176,34,281,1112,44436,14063,18501,86,263],"书斋","湖光水色","读书场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","25.7×26厘米",[],{"id":44441,"slug":44442,"title":44443,"dynasty":18,"author":2039,"museum":20,"description":44444,"tags":44445,"thumbUrl":44446,"material":40,"size":35100,"collection":139,"collections":44447,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},221492,"qian-tang-guan-chao-tu-quan-juan-li-song-221492","钱塘观潮图全卷","本幅无款印。引首及前后隔水有清乾隆题诗，后幅有张仁近、杨基题跋。收藏印有项子京、清内府、梁清标诸印。\n少年时曾作过木工的画院画家李嵩是善画建筑的高手。台北故宫博物院收藏的李嵩所绘《月夜看潮图》页是对南宋官式建筑的风格和细部特点的忠实写真，而此卷则带有缘物抒情的感情色彩，展现了李嵩的其另一种建筑画风。\n每年农历八月十六至十八日为浙江钱塘江的大潮汐期。自南宋迁都临安（今浙江杭州）后，观潮成为临安一年一度的盛大活动。其时海水沿喇叭形的钱塘江口逆江而上，如“玉域雪岭，际天而来，大声如雷霆，震撼激射，吞天沃日，势极雄豪”。\n此幅画面除表现滔滔的江水，即写“大内临江起飞阁”的都城临安。耐人寻味的是作者并没有以其擅长的细腻精微的表现手法再现皇家殿宇的巍峨辉煌、临安城池的雄伟整饬、“岁岁观潮乐”的繁华热烈，而只以简括的笔法写出成片的半露瓦顶于薄雾树影之中朦胧隐现，茂林中三面围墙的宽大空场或许即南宋的宫室所在，意境颇显空寂。作者活动的年代，正值南宋时局动荡，国家面临内忧外患，而小朝廷又沉湎于“钱塘江上开皇畿”，“贪看秋潮忘黍离”的耽乐奢靡。身为画院待诏得以侍于君侧的李嵩忠君忧国而又无力回天的孤寂心境在画面中似有曲折流露。",[7,209,23,24,25,28,27,178,263,86,25934,14577,106,107,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fd3ce03bbccea8289caf4b7a3e6d4f.jpg",[],{"id":44449,"slug":44450,"title":44451,"dynasty":18,"author":15168,"museum":56,"description":44452,"tags":44453,"thumbUrl":44454,"material":699,"size":44455,"collection":328,"collections":44456,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},221480,"wang-shi-bao-ben-an-ji-zhang-ji-zhi-221480","汪氏报本庵记","帖后有文徵明跋、项元汴题记。卷前后又有项氏诸印和卞永誉式古堂印，清乾隆、嘉庆、宣统三朝印玺。文徵明云：“按《皇宋书录》，即之，安国之后，甚能传其家学。……。其书师颜鲁公、尝为高宗所称。即之稍变而刻急，遂成名家。”《汪氏报本庵记》一文原为楼钥所撰，汪氏是楼的外祖家，不知道与张即之有无瓜葛，要录写这篇文章。书后的“淳熙十二年(公元1252年)三月二日”款，原应在文内，为后人挖移篇末。此卷小字行书，运笔流畅而劲健，比即之其它擘窠书《杜甫诗卷》要秀逸些，是张氏传世墨迹中的佳作。 乾隆时曾刻入《墨妙轩法帖》第四册。\n相关说明:\n北宋遭靖康之耻，汴京被金兵陷落，徽、钦二帝被虏，宋高宗赵构南逃，建都于临安，此便是历史上的南宋王朝，自建炎元年至祥兴二年先后易九主计一百五十二年。南宋虽苟安一时，但江南之地，物产丰富，人杰地灵，且宋高宗赵构雅好翰墨，北宋刊刻之《淳化阁帖》至南宋时影响渐广，学米《芾》学黄（山谷》学二王之风蔚然一时，帖学又得到长足的发展《鼎帖》、《淳熙秘阁续帖》、《世釆堂帖》相继问世，高宗还设置书学，命米友仁任书学博士．在这种文化氛围的熏陶下，南宋亦出现了不少著名的书家，如岳飞、吴说、范成大、吴琚、朱熹、陆游、姜夔、张即之、文天祥、赵孟坚等人．从总体上来说，南宋书法不及北宋之新意迭出，生气蓬勃，显得比较保守，模仿之风亦较盛，但其中亦不乏富有创意和个性的书家，张即之即是其中的代表人物。\n张即之生于南宋孝宗淳熙十三年（一一八六），卒于理宗咸淳二年（一二六六），字溫夫，号樗寮，安徽和州人．他是参知政事张孝伯之子，南宋的著名书家张孝祥又是他的伯父、即之年青时即以父荫补官．授承务郎，父亡后擢司农寺丞，调任嘉兴知事，因遭受他人巫陷，未赴任上，特授直秘阁而离职，即之一生仕途并不顺利，据《李伯嘉墓志铭》中记其官职为“太中大夫，直秘阁致仕、历阳县开国男、食邑三百户、赐紫金鱼袋”，后引年告老，终年八十一岁。\n张即之的书法在幼年时便受到其伯父张孝祥的影响，始学米芾，后则肆力于褚遂良楷书笔法，在这基础之上，又糅合了隋唐人写经的笔意而自创一格，特别是他的楷书，写得清劲绝俗，用笔极其精到细腻，发笔处喜用搭锋，点画之间，顾盼呼应，而兼行草笔意，又善于用方笔侧锋，显得姿态生动，极其圆熟．即之的书法在南宋时名声就很大，金人常出高价来收购他的宇，据《宋史本传》谓：“即之以能书闻天下，金人尤宝其翰墨”。张即之小楷以精巧圆熟为特征，正如梁闻山《评书帖》所谓：“原自欧出，参有褚法，结体尚紧，特多讨巧之处而不成大方耳”。其实小楷以精巧为特征本身即是一种风格，况即之喜写经文，而经文中重复的字很多，比较难写，即之能在楷法中自成一格，别开生面是非常不容易的，正如叶昌炽《语石．张即之一则》中谓：“张即之，书中之畸士也。好用侧笔，望之如矮松偃盖，婆娑可爱，其运笔以收为纵，又如长房缩地，咫尺有千里之势”。本册所载《张即之书报本庵记》后有“淳熙十二年三月二日二“，考淳熙十二年为一一八五年，而张即之生于一一八六年，故知此为报本庵记写于淳熙十二年，非即之书于此午也．此册行楷骨力劲健，点画精到，结字生动，笔意流动，显得神采焕发，给人以一种轻松自如之感，从其成熟的风格上来看，当为其晚年时所书，无疑是其生平的代表作品。",[7,209,24,25,178,86,263,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e8ee6f88ad6a055877d8d6149cbe3c.jpg","，纵29.3厘米，横91.4厘米",[328],{"id":44458,"slug":44459,"title":44460,"dynasty":18,"author":44461,"museum":20,"description":44462,"tags":44463,"thumbUrl":44464,"material":20170,"size":44465,"collection":139,"collections":44466,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},221410,"gui-zhai-tie-li-jian-zhong-221410","贵宅帖","李建中","释文：\n“貴宅諸郎各計安侍奉，所示請改章服。昨東封須得出身歷任家狀一本，並須齎擎官告敕牒去，未審此來如何行遣也。兼爲莊子事，已令彼僧在三學院安下，近已往彼去來回。此莊始初見說甚好，只是少人管勾，若未貨，可且收拾課租，亦是長計，不知雅意如何也。侯親家亦言可惜拈卻。建中（花押）諮。劉秀才久在科場，洛中拔解，今西遊兼欲祗侯府主，希略一見也。”\n“谘”同咨，是公文的一种。宋代百官有事申述，皆用“状”，唯学士院用咨报，由当值学士一人押字。《贵宅帖》就是这样一篇咨文。文中主要说了三件事：先说与“东封”有关事宜，“东封”是指大中祥符元年（1008年）宋真宗封祀泰山之行；再谈“庄子事”；最后提到“刘秀才”，此人可能即《同年帖》中李建中的女婿刘仲谟。\n《贵宅帖》作于李建中64岁时，书风沉着朴厚，具其所特有的“风骨俊整，骨肉停匀”的艺术美感。帖后明代刘日升七言诗题，称建中书有钟(繇)、王(羲之)法度，足以令后学者效法。此帖钤“东山”“无恙”及项元汴诸鉴藏印。\n明汪珂玉《珊瑚网书跋》、郁逢庆《郁氏读书画题跋记》、吴其贞《吴氏书画记》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》等书著录。",[7,86,178,263,1115,1116,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e53bb741113da6474d5694e8d1bf6f.jpg","纵31厘米，横27.5厘米",[],{"id":44468,"slug":44469,"title":44470,"dynasty":18,"author":44471,"museum":206,"description":44472,"tags":44473,"thumbUrl":44478,"material":699,"size":44479,"collection":328,"collections":44480,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":94},221234,"shu-xi-jiang-yue-ci-zhong-shu-221234","书西江月词","仲殊","北宋僧人、词人。字师利。安州（今湖北安陆）人。本姓张，名挥，仲殊为其法号。\n曾应进士科考试。生卒年不详。年轻时游荡不羁，几乎被妻子毒死，弃家为僧，先后寓居苏州承天寺、杭州宝月寺，因时常食蜜以解毒，人称蜜殊；或又用其俗名称他为僧挥。他与苏轼往来甚厚。徽宗崇宁年间自缢而死。",[7,209,23,24,86,178,173,44474,44475,5048,18916,22794,2279,9575,44476,44477],"红旗","黄钺","帆","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893f5c450e666968341f30dfe2e9e801.jpg","48.7x70.3厘米",[328],{"id":44482,"slug":44483,"title":44484,"dynasty":18,"author":44485,"museum":206,"description":44486,"tags":44487,"thumbUrl":44489,"material":699,"size":44490,"collection":328,"collections":44491,"showCount":199,"zanCount":2209,"manualWeight":48,"mainColor":94},221229,"shu-zha-zi-zhou-hu-221229","书劄子","周虎","周虎(1161--1229）字叔子。祖籍临淮(治今江苏洪泽县临淮镇），靖康中迁居常熟。能诗文，善写大字，并习武艺。为人倜傥，轻财尚气。南宋庆元二年(1196年），举武科第一。曾出使金国为副使，后任和州守。开禧二年(1206年），金兵会攻和州，时城中守兵不足2000，周激励将士，誓死守城。一月中作战30余次，杀金兵帅石石乞跶并将领十数人。金兵受重创败退，由此与宋议和，江淮一带得以安定。和州百姓曾立生祠祀其母子。卒后谥“忠惠”。后人并立武状元坊，以为纪念。",[7,1004,24,86,178,173,8289,44488],"书札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebcc1a5057c18e1402f159c61af862c.jpg","48.7x70.3",[328],{"id":44493,"slug":44494,"title":44495,"dynasty":99,"author":2494,"museum":206,"description":44496,"tags":44497,"thumbUrl":44498,"material":699,"size":44499,"collection":328,"collections":44500,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},220950,"du-fu-ye-yuan-huang-di-shi-dong-qi-chang-220950","杜甫谒元皇帝诗","这幅墨迹实为临摹唐代大书法家徐浩所书写的杜少陵诗《冬日洛城北谒玄元皇帝庙》。董其昌晚年楷书承颜鲁公圆劲朴厚之风。而我们要知道，在唐代，事实上徐浩的书名要远远超过颜真卿。据说，徐浩曾传授颜真卿以笔法，可谓颜鲁公的老师。那么，董其昌临徐浩的文本，则是其追索笔法的用意了。你看，董其昌写清楚了，他所临的版本“相传为徐季海所书，虽方实圆，脱去虞褚姿媚态，余每临之，此其一也。”",[7,86,178,105,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07ba04c1cc98e019c868058e4aaa874e.jpg","纵181厘米，横46厘米",[328],{"id":44502,"slug":44503,"title":44504,"dynasty":99,"author":1362,"museum":7087,"description":44505,"tags":44506,"thumbUrl":44507,"material":5090,"size":44508,"collection":139,"collections":44509,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":139},220757,"xing-shu-ji-jin-ling-you-ren-ci-wen-zheng-ming-220757","行书寄金陵友人词","笔意温润秀劲，带着晋唐遗韵，牵丝映带自然灵动，字势欹正相济，整幅行气贯通如一泓春水迤逦舒展。\n笔墨随着词作心绪起伏，粗细藏着幽思浓淡，时而舒展如堤畔杨柳曳风，时而收敛如幽窗怀人蹙眉。怀友念旧的缱绻深意融在笔锋起落，十年旧梦随着墨色晕开，书文合璧，清雅书卷气裹着沉郁真挚的心境，在流转的笔意里，将故地重逢的怅惘与昔年风流的追忆缓缓铺陈，笔底皆是一往情深。",[7,86,178,24,225,1115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00861222d32a45a6960c5ced59ed9103.jpg","348 × 103 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去“抖擞俗气”，形成了逆势涩行之法，而在结体上的辐射式开张也不再怒张、突兀，可以说是实现了他个人的书法审美主张：绝俗和重韵。\n卷末有元代书家龚璛题跋。龚璛（1266-1331），一作肃，字子敬，号谷阳生，江苏高邮人，后徙居平江（今江苏吴县）。少为徐琬辟幕下，后充和靖、学道两书院山长。以浙江儒学副提举致仕。与戴表元、仇远等人交善。工诗文，擅书法，有晋唐人法度。有《存悔斋集》一卷，补遗一卷。小传详见《苏州府志》。传世书迹有《教授帖》、《静春堂诗序》、《宣城诗并识卷》等。\n释文：我见黄河水，凡经几度清。水流如激箭，人世若浮萍。癡属根本业，爱为煩恼阬。轮迴几許劫，不解了旡明。寒山出此语，举世狂癡半。有事对面說，所以足人怨。心真语亦直，直语无背面。君看渡奈河，谁是喽罗汉。寄语諸仁者，仁以何为怀。归源知自性，自性即知來。任运堂試张通笔为法聳上座书寒山子庞居士诗兩卷。涪翁題。",[7,86,178,1004,45033,45034,8293,45035,263,8289,45036,14117],"中锋行笔","笔画劲健","章法布局","笔力雄健","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5948567560da19a69ec363536ed45a.jpg","29.1x213.8cm",[],{"id":45041,"slug":45042,"title":45043,"dynasty":189,"author":278,"museum":311,"description":45044,"tags":45045,"thumbUrl":45047,"material":139,"size":139,"collection":139,"collections":45048,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[7,23,24,225,173,177,29,106,403,466,558,109,45046],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],{"id":45050,"slug":45051,"title":45052,"dynasty":277,"author":45053,"museum":311,"description":45054,"tags":45055,"thumbUrl":45056,"material":2164,"size":2165,"collection":139,"collections":45057,"showCount":361,"zanCount":2209,"manualWeight":48,"mainColor":255},231749,"si-ji-shan-shui-tu-ping-feng-di-4-ping-zhou-wen-231749","四季山水图屏风第4屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[7,23,173,29,107,34,176,177,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5a32141c2718bb6b808c418df78505.jpg",[],{"id":45059,"slug":45060,"title":45061,"dynasty":277,"author":45062,"museum":311,"description":45063,"tags":45064,"thumbUrl":45065,"material":2164,"size":2165,"collection":139,"collections":45066,"showCount":361,"zanCount":2209,"manualWeight":48,"mainColor":49},231724,"jiang-hu-shi-dai-ge-wu-ji-ping-feng-tu-di-er-ping-ling-chuan-shi-xuan-231724","江户时代 歌舞伎屏风图 第二屏","菱川师宣","菱川师宣是江户时代的浮世绘画家。有「浮世绘之祖」之称。菱川师宣最为知名的作品是见返り美人図。此外，他也画过很多春画。在他的故乡千叶县锯南町有菱川师宣记念馆。",[7,13178,27,28,299,106,107,1365,22238,115,436,1643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc25d93284b4cce552e9c3926b8f372.jpg",[],{"id":45068,"slug":45069,"title":45070,"dynasty":277,"author":278,"museum":311,"description":45071,"tags":45072,"thumbUrl":45074,"material":2164,"size":2165,"collection":139,"collections":45075,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 流亡的皇帝屏风","金箔为底晕开朦胧暖光，淡墨细绘出浩渺水岸，层层水纹带着澹澹涟漪，铺陈开幽寂江景。左岸孤客彳亍，衣袂似随江风微扬，满溢羁旅怅惘。右畔水榭依水而立，灼灼桃枝缀着浅淡花意，晕开零落暖意，和空阔江天的萧寂形成温柔的对照。\n水墨冷寂被金箔柔光轻轻中和，将沉郁藏在清雅笔意间，留白里晕开澹澹愁思，以侘寂幽玄的笔致，把漂泊况味融在烟暮色中，在极简构图里铺陈出含蓄悠长的诗意。",[7,209,23,24,299,173,27,20304,177,29,106,114,34,558,31,45073],"开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcce2a562d3507c088b54444c8a8b0f.jpg",[],{"id":45077,"slug":45078,"title":25378,"dynasty":18,"author":2028,"museum":9826,"description":45079,"tags":45080,"thumbUrl":45081,"material":699,"size":139,"collection":139,"collections":45082,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[7,23,24,1218,173,27,177,28,86,178,263,106,29,176,34,1422,175,18,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":45084,"slug":45085,"title":20490,"dynasty":76,"author":4406,"museum":132,"description":45086,"tags":45087,"thumbUrl":45088,"material":699,"size":36523,"collection":139,"collections":45089,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},231488,"xi-shan-xian-guan-tu-wang-jian-231488","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[7,23,24,225,27,177,29,108,109,866,107,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg",[],{"id":45091,"slug":45092,"title":45093,"dynasty":76,"author":23410,"museum":132,"description":45094,"tags":45095,"thumbUrl":45096,"material":67,"size":45097,"collection":139,"collections":45098,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},231486,"si-ji-hua-hui-tu-jiang-pu-231486","四季花卉图","蒋溥，江苏常熟人。廷锡子。雍正八年传胪，乾隆十八年仕至大学士。花草得其家传，随意布置，多生趣。每绘画进呈，蒙睿题有“师承家法闲图出，右相丹青有后生”之句。谥文恪。",[7,23,209,225,28,27,83,402,227,369,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3cae0f4cf71bdb4cba7de4487776320.jpg","98.5×60.5cm",[],{"id":45100,"slug":45101,"title":45102,"dynasty":99,"author":45103,"museum":206,"description":45104,"tags":45105,"thumbUrl":45106,"material":699,"size":45107,"collection":139,"collections":45108,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[7,23,24,225,27,177,105,263,29,106,107,108,109,150,1365,466,469,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":45110,"slug":45111,"title":8190,"dynasty":18,"author":8191,"museum":311,"description":45112,"tags":45113,"thumbUrl":45114,"material":139,"size":139,"collection":139,"collections":45115,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[7,209,23,24,225,27,28,106,150,1422,1423,866,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":45117,"slug":45118,"title":45119,"dynasty":76,"author":17548,"museum":311,"description":45120,"tags":45121,"thumbUrl":45122,"material":139,"size":139,"collection":139,"collections":45123,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},230358,"sui-han-san-you-tu-zhou-fan-qi-230358","岁寒三友图轴","枯梅清枝斜出，苍劲瘦硬，花苞轻缀，暗蕴幽芳。丹红山茶花晕染柔润，鲜翠枝叶错落生姿，浓黑泼墨湖石与之相映，冷暖明暗碰撞，艳而不俗，拙而不僵。下方水仙挺秀舒展，冰姿玉洁，与湖石皴擦出的奇崛顽态相得益彰。\n全画工写兼施，笔致秀雅含蓄，将冬日清友齐聚尺素，把岁暮天寒里的融融春意暗藏其间，既有文人画的清逸格调，又鲜活晕透出明丽生机，让观者于画中品味隆冬清妍风骨，静赏幽然雅集意趣。",[7,23,24,225,27,83,402,406,226,229,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504a4ddf8e1f808198416479420c9b74.jpg",[],{"id":45125,"slug":45126,"title":11466,"dynasty":76,"author":11467,"museum":311,"description":45127,"tags":45128,"thumbUrl":45129,"material":139,"size":139,"collection":139,"collections":45130,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},230218,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230218","此作以猛虎为魂，山林为幕，蛰伏于草木间的碧眼吊睛虎身姿蓄势待发。笔线勾勒皮毛纹理细腻入微，墨色晕染斑纹虚实相生，将百兽之王的沉凝悍劲与潜藏的威严精准铺陈。\n\n背景以泼墨写意挥洒阔叶草木，细劲藤蔓与挺秀竹丛疏密错落，淡赭晕染山石晕开深山幽寂氛围。虚实相生间将虎的机警觉察与山野静谧相融，工写兼备的笔意揉合虎的威仪与林泉野趣，藏灵动于沉雄，尽显造境塑物的深厚功底，是形神皆备的精妙之作。",[7,23,173,27,225,8436,808,226,176,759,400,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8e10a2005f4a486a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，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[7,23,27,28,106,45190,7725,23586,226,14227,28387,1112,3609],"笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7b7a55715dbf5b199f6e559cf3c60a.jpg",[],{"id":45194,"slug":45195,"title":131,"dynasty":99,"author":45196,"museum":311,"description":45197,"tags":45198,"thumbUrl":45199,"material":139,"size":139,"collection":139,"collections":45200,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},228276,"hua-hui-ce-chen-dao-fu-228276","陈道复","这幅作品以淋漓水墨挥写湖石，苍润朴拙，留白藏尽空灵意趣。环绕花木设色清妍柔和，素白牡丹柔枝舒展、花瓣轻绽，淡粉碎花攒簇生姿，兰草劲挺修长，叶片舒展带露生机。\n笔意松秀灵动，兼工带写间糅合文人雅致，以色墨晕染烘托春日融融。花木俯仰有情，与苍润湖石形成刚柔对照，将庭间春日野趣尽显笔端，淡冶雅致中饱含闲散文心，寥寥数笔便勾勒出盎然春意，尽显水墨写意的精妙韵味。",[7,23,209,400,27,173,84,229,759,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca306f52ecfeeac584ccaa95f1e44470.jpg",[],{"id":45202,"slug":45203,"title":45204,"dynasty":189,"author":278,"museum":311,"description":45205,"tags":45206,"thumbUrl":45207,"material":139,"size":139,"collection":139,"collections":45208,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[7,23,24,209,225,28,27,83,266,19456,5242,2137,926,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":45210,"slug":45211,"title":35202,"dynasty":189,"author":17471,"museum":311,"description":45212,"tags":45213,"thumbUrl":45214,"material":139,"size":139,"collection":139,"collections":45215,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[7,209,23,24,225,4472,173,27,177,866,865,176,109,3711,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":45217,"slug":45218,"title":45219,"dynasty":189,"author":45220,"museum":311,"description":45221,"tags":45222,"thumbUrl":45223,"material":2164,"size":2165,"collection":139,"collections":45224,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},228032,"song-liu-man-shi-juan-ye-lv-chu-cai-228032","送刘满诗卷","耶律楚材","耶律楚材（1190-1244）字晋卿，号湛然居士，又号玉泉老人。辽宗室。博学能文，元太袓定燕，召为相，历事两朝。耶律楚材少年时受金代文化影响至深，在赵孟頫扭转金及南宋末午书法流风之前，他的书法具有一定的代表性。《元史》本传称其：“善书，晚年所作字画尤劲健，如铸铁所成，刚毅之气，至老不衰。”他的书法继承了唐宋颜真卿，黄庭坚书风，雄放刚健、硬拙挺拔，以端严刚劲著称，有“河朔伟气”，与后来赵孟頫提倡的晋人韵味迥异。",[7,86,25,178,173,263,622,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b16520804b9eccfa270024c95dab57f.jpg",[],{"id":45226,"slug":45227,"title":45228,"dynasty":189,"author":3051,"museum":311,"description":45229,"tags":45230,"thumbUrl":45231,"material":139,"size":139,"collection":139,"collections":45232,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},228021,"cao-chong-tu-juan-zhen-ji-qian-xuan-228021","草虫图卷真迹","此作工细清润，草虫鲜活灵动，翅脉触须纤毫毕现，草木柔叶含带晨露清气，将草间小景勾勒得满生意趣。配笔题字朴拙苍劲，与画作的隽雅相映成趣，诗书画印融为一体。整体气质淡远清旷，以草虫之微，寄寓对生命本真的吟咏，尽得元人文人画澄怀观道的意韵，静雅中藏着蓬勃生机，是笔墨见心性的上乘佳作。",[7,23,24,25,28,27,83,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb58a17d67bcb7d3dcdbd84e29a6a97.jpg",[],{"id":45234,"slug":45235,"title":45236,"dynasty":189,"author":3051,"museum":311,"description":45237,"tags":45238,"thumbUrl":45239,"material":139,"size":139,"collection":139,"collections":45240,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},228014,"shuang-ya-tu-ye-qian-xuan-228014","双鸭图页","此作用色清隽雅致，以澄澈钴蓝晕染水面，铺就幽宁底色。枯涩崖岸旁，蓼花垂曳轻摇，荇花绽于浅波，野趣盎然。白鸭昂首引吭，绒毛以淡墨层层晕染，柔润蓬松，憨态灵动，将水禽的慵懒自在尽显无遗。\n左侧题字墨色沉郁古雅，书画合璧，晕开文人逸趣。整幅画作工致却无板滞之感，褪去浓艳浮华，以清简笔触定格江南水畔一隅生机，在平淡天真里晕染出静逸诗意，把闲淡野逸的水乡意趣藏于笔底，尽显雅致悠然的文人审美意韵。",[7,209,23,24,81,28,27,2175,558,284,84,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f3c409d648d2eabd5847edaa99ecd.jpg",[],{"id":45242,"slug":45243,"title":38619,"dynasty":18,"author":5793,"museum":311,"description":45244,"tags":45245,"thumbUrl":45246,"material":139,"size":139,"collection":139,"collections":45247,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},227980,"qiu-lu-fei-wu-tu-liang-kai-227980","以淡墨晕开秋江空蒙的冷寂氛围，枯瘦芦草欹斜舒展，迅疾老辣的笔致带着野逸秋意。水畔坡岸以泼墨点染，浓淡墨色自然晕化，混融天成，静立坡头的小禽与振翅掠空的飞鹜形成动静对照。\n\n远飞的水禽仅以寥寥数笔勾勒，形神俱足，活现掠空姿态。画面以大片留白衬出江天寥廓，将秋日江汀的萧疏淡远藏在简淡笔墨中，以少胜多，把秋日清寂与禅意文思揉合一处，余韵悠长。",[7,209,23,24,225,173,400,3899,266,229,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917b71480910d4f702db28eefc181657.jpg",[],{"id":45249,"slug":45250,"title":45251,"dynasty":18,"author":2297,"museum":311,"description":45252,"tags":45253,"thumbUrl":45254,"material":139,"size":139,"collection":139,"collections":45255,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},227951,"qin-yu-tu-li-di-227951","禽浴图","画面截取禽鸟沐水的日常一隅，乌鸫探身木盆，翅羽蓬松乍起，墨色晕染分出干湿层次，将沾水后濡重的绒羽与翻扬的飞羽区别开来。圆目灵动带着憨态，黄喙轻点水面，漾开浅淡水痕，仿佛能闻声水泽轻响。木盆篾编纹理刻画写实，分毫毕现。\n\n整幅笔墨工细却不失生机，以小景见真趣，把野禽自在沐浴的瞬间定格，将对生灵的细致观察尽显无遗，于寻常日常里，晕染出雅致鲜活的自然意趣。",[7,209,23,24,28,27,83,266,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e7161b3e35c7b6a5e1f6d4a3f7707c.jpg",[],{"id":45257,"slug":45258,"title":45259,"dynasty":18,"author":278,"museum":311,"description":45260,"tags":45261,"thumbUrl":45262,"material":139,"size":139,"collection":139,"collections":45263,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},227920,"hua-hui-shuang-qin-tu-yi-ming-227920","花卉双禽图","此作工笔设色，柔枝舒展间白茶花轻绽，花瓣晕染出莹润柔光，枝叶俯仰向背尽显草木生姿。两只禽鸟栖于细枝之上，翎毛刻画丝丝入微，胸腹绒羽蓬松柔软，墨色晕染出头部乌亮光泽。一鸟昂首啾鸣，一鸟侧身应和，将枝间互动的鲜活意趣定格。\n\n整幅构图疏密得宜，浅褐绢底衬出雅致色调，笔墨精细却无匠气，尽显院体花鸟的写实功力。画师以细腻笔触捕捉花鸟间的灵动互动，将春日枝桠间的寻常小景，晕染出独有的雅致诗意，藏着对日常生机的温柔捕捉。",[7,209,23,24,28,27,83,84,1628,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd599ee4f684f536c226cf5017f764baa.jpg",[],{"id":45265,"slug":45266,"title":27925,"dynasty":18,"author":278,"museum":311,"description":45267,"tags":45268,"thumbUrl":45269,"material":139,"size":139,"collection":139,"collections":45270,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},227891,"shen-tang-qin-qu-tu-yi-ming-227891","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[7,23,24,209,1352,27,29,107,34,176,108,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":45272,"slug":45273,"title":45274,"dynasty":18,"author":12612,"museum":311,"description":45275,"tags":45276,"thumbUrl":45277,"material":139,"size":139,"collection":139,"collections":45278,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","南宋 赵伯骕 碧山绀宇图绢本25.5x25\n\n赵伯骕,（一一二四至一一八二）字希远。伯驹弟。和州防御使。少从高宗于康邸，以文艺侍左右。善山水、人物，尤长于花鸟，傅染轻盈，颇有生意。界画亦精，尝绘姑苏天庆观样进呈，考宗书其上令依原样建造，即今之玄妙观。\n兄弟博涉书史，皆妙于丹青，以萧散高迈之气，见于毫素。尝论画以为写人物、动、植，画家颇能具其相貌，但吾辈胸次，自应有一种风规，神气悠然，韵味清远，不为物态所拘，便有佳处。况吾所存，无媚於世，而能合於丛情者，要在悟此。故二人以一圆墨，舒卷万象，俱受圣知。凡所落墨，皆缥囊玉轴为上方珍玩。卒年五十九。",[7,23,24,29,26,27,107,176,34,466,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa140c79a62d2d325e3c86c73ee3a47e.jpg",[],{"id":45280,"slug":45281,"title":11447,"dynasty":18,"author":5346,"museum":311,"description":33426,"tags":45282,"thumbUrl":45283,"material":139,"size":139,"collection":139,"collections":45284,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},227706,"dai-du-tu-mi-you-ren-227706",[7,23,173,177,29,174,109,4272,1265,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b90154e546073fde551209019683cef.jpg",[],{"id":45286,"slug":45287,"title":45288,"dynasty":18,"author":8191,"museum":311,"description":45289,"tags":45290,"thumbUrl":45291,"material":139,"size":139,"collection":139,"collections":45292,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},227686,"liu-tang-mu-ma-tu-chen-ju-zhong-227686","柳塘牧马图","《柳塘牧马图》原载《历代名笔集胜册》第一册。签题陈居中作。耿昭忠题云：陈居中柳塘牧马图，虽纤细如绳，悉具乘风破浪之势。昔评云：“布景设色，不亚黄宗道。今观其气韵生动，精神物态，全形缣素间，即谓超佚前人，岂为过当。”这评赞是确当的。在小小的纨扇的面上，画着二十多个人，五十多匹马，而姿态活跃异常，那功力是深厚的。",[7,23,24,27,28,2607,31955,150,384,282,106,808,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece9ab741023d625ae0a528e2f8fb9c8.jpg",[],{"id":45294,"slug":45295,"title":27690,"dynasty":18,"author":746,"museum":311,"description":45296,"tags":45297,"thumbUrl":45298,"material":139,"size":139,"collection":139,"collections":45299,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},227500,"chi-du-su-shi-227500","苏轼（1037-1101），字子瞻，号东坡居士，四川眉山人。北宋著名文学家、书画家。诗词开豪放一派，为唐宋八大家之一。苏轼少负才名，博通经史。宋嘉佑二年（1057年）进士，曾官礼部尚书，翰林学士等职。他一生坎坷，多次被贬官放逐。他在宋神宗时曾受重用，然因新旧党争，屡遭贬抑，出任杭州、密州、徐州、湖州等地方官；又因作诗“讪谤朝政”，被人构陷入狱。出狱后贬黄州。此后几经起落，再贬惠州、琼州，一直远放到儋州（今海南儋县），从此随缘自适，过着读书作画的晚年生活。直到元符三年（1100年）宋徽宗即位，他才遇赦北归。建中靖国元年（1101年）七月死于常州。\n\n苏轼为人正直、性旷达，才华横溢，诗词文赋而外，对书画也很擅长，同蔡襄、黄庭坚、米芾并称“宋四家”。苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。",[7,86,178,263,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c5836fed0d2e2d8e0dec2ed1492a82.jpg",[],{"id":45301,"slug":45302,"title":45303,"dynasty":5401,"author":278,"museum":311,"description":45304,"tags":45305,"thumbUrl":45306,"material":2164,"size":2165,"collection":139,"collections":45307,"showCount":361,"zanCount":2209,"manualWeight":48,"mainColor":94},227035,"xian-yu-huang-bei-zheng-tuo-yi-ming-227035","鲜于璜碑整拓","汉碑(音hàn bēi）即 汉代碑刻。碑文字体以隶为主，碑额文字多用篆书。汉碑（包括拓本）流传甚多﹐著名的有《张迁碑》﹑《乙瑛碑》《华山庙碑》﹑《礼器碑》﹑《史晨碑》﹑《曹全碑》等。\n与汉碑体制的高度成熟相适应，汉碑碑文也已成为典型化的文体，即诔文。文字多达千字左右。详细记载墓主的姓名、职官、功绩、生卒日期以及立碑人书碑人姓名，并有华丽腴饰的四言韵文的颂词。\n东汉晚期，汉碑构成礼仪文化的中心“语境”，同时，儒学也开始向汉碑全面渗透。一个明显的事实是，汉碑多出在儒学中心的黄河下游的山东地区，尤其是山东省济宁市地区，有“天下汉碑半济宁”之称。这个时期，汉碑在整体上已消蚀掉早期汉隶的博大气象和自然意味，但由于刀与石的营构，进一步夸张修饰了简帛书法的特征，使汉隶在本体语言上趋于全面成熟。\n传世汉碑数量庞大，风格类型多样，被称为“一碑一奇，莫有同者”。由此，从风格类型方面研究汉碑便构成一个专门的课题。\n朱彝尊在《西岳华山庙碑跋》中说：“汉隶凡三种，一题方整，《鸿都石经》、 《尹宙》、《鲁峻》、《武荣》、《郑固》、《衡方》、《刘熊》、《白石神君》诸碑是已。一种流丽，《韩勃》，《曹全》，《史晨》、《乙瑛》《张迁》诸碑是已。一种奇古，《夏承》、《戚伯著》诸碑是已。”王澍在《虚舟题跋》中说：“汉碑分雄古、浑劲、方整三类。”康有为《广艺舟双楫·本汉》则将汉碑分为：“骏爽，疏宕，高深、丰茂、华艳，虚和，凝整、秀额八类。此外，还有学者依据制作目的将汉碑分为五类：歌颂神冥灵验者，有神碑，神庙石阙；记述祖庙祭祀与修造者的庙碑；歌颂个人德行者，有德政碑、墓碑、墓门石阙；纪念土木工程完工者，有竣功纪念碑。其它，有画像题字，墓记，买冢记，石经等。这种分类充分体察到汉碑的文化功用，并将汉碑不同书风的形成与汉碑体制结合起来加以考察。因而这种分类视角较之仅仅从审美形态上划分汉碑风格类型无疑更具有史学认识价值。",[7,5401,620,5405,86,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaf530111f1f1f78168e1256dab89ff.jpg",[],{"id":45309,"slug":45310,"title":45311,"dynasty":8433,"author":278,"museum":311,"description":45312,"tags":45313,"thumbUrl":45314,"material":2164,"size":2165,"collection":139,"collections":45315,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},226524,"yuan-ti-mu-zhi-yi-ming-226524","元悌墓志","墓志是中国古代丧葬制度持续发展的产物，有固定的形制和专门的文体，主要记述死者姓名、卒年和生平事迹。墓志滥觞于秦汉之际，发展于魏晋，完善于北魏，兴盛于唐，延续至明清，经历了由砖造墓志到石刻墓志，由碑形墓志到方形墓志的发展历程。（碑的起源早于墓志，先有碑，后有志，两者在文化上有渊源关系。）",[7,86,620,621,5406,25111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eaf21ac401c5716799504fe752136d4.jpg",[],{"id":45317,"slug":45318,"title":45319,"dynasty":76,"author":963,"museum":311,"description":45320,"tags":45321,"thumbUrl":45322,"material":139,"size":139,"collection":139,"collections":45323,"showCount":361,"zanCount":2209,"manualWeight":48,"mainColor":94},224510,"shan-shui-tu-ce-8-kai-1-zhang-da-qian-jiu-cang-shi-tao-224510","山水图册8开-1-张大千旧藏","淡墨晕染远山，恍如烟霭轻笼，望之渺渺。近前丘峦以枯笔焦墨皴擦勾勒，苍劲朴拙，自带厚重古意。坡岸寒林萧疏，枝桠错落淡写，空寂清寒之境跃然纸上。右侧三两茅舍依偎岩岫，隐于林木间，尽出世幽居之趣。\n书画相融，题诗佐景，朱红金石印章错落点缀，更添雅致。笔意纵恣又不失内敛，将山雨初歇后的微茫空濛铺陈开来，淡而弥厚，简而愈远，尽显静穆萧散的文人逸趣，把江南山野的幽淡之美，晕作悠然忘尘的林下诗意。",[7,209,23,24,81,173,177,29,865,35,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93031ba8b540688941b476a31e5177ff.jpg",[],{"id":45325,"slug":45326,"title":45327,"dynasty":76,"author":963,"museum":311,"description":45328,"tags":45329,"thumbUrl":45330,"material":139,"size":139,"collection":139,"collections":45331,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},224500,"shan-shui-ce-kai-jiu-shi-tao-224500","山水冊开(九)","近景虬松斜出，板桥横卧浅溪，野意悠然。中景崖边村居错落，山径蜿蜒隐入青山，远江烟棹朦胧，翠微含黛，浅绛设色晕染出温润清和的春日山乡。\n\n枯笔皴擦勾勒山石，朴拙苍劲间带着灵动生气，林木简笔点染，形神兼备。题画诗与山水相融，将伤春怀远的幽寂心绪藏在清寂丘壑里，以山川写尽文人缱绻情思，简淡天真中见纵逸灵秀，笔底既有林泉野趣，又含寄情山水的文人心魂，尽显平淡悠远的画中真意。",[7,209,23,173,27,177,81,29,108,109,35,34,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112ef3c7e0ff3fa7d53483405b5d3c67.jpg",[],{"id":45333,"slug":45334,"title":44271,"dynasty":76,"author":4406,"museum":311,"description":22942,"tags":45335,"thumbUrl":45336,"material":2164,"size":2165,"collection":139,"collections":45337,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},224482,"shan-shui-tu-shan-mian-wang-jian-224482",[7,23,24,1352,29,27,177,176,34,1265,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4553a79a1bb08b744bb24b9bf960af.jpg",[],{"id":45339,"slug":45340,"title":45341,"dynasty":76,"author":7940,"museum":311,"description":45342,"tags":45343,"thumbUrl":45344,"material":139,"size":139,"collection":139,"collections":45345,"showCount":361,"zanCount":2209,"manualWeight":48,"mainColor":94},224458,"hua-hui-shan-shui-he-ce-1-5-wang-hui-224458","花卉山水合册1-5","此作设色清妍明快，以石青石绿晕染山峦，柔缓晕开丘棱轮廓，晕出春日山景的温润鲜活。左上桃枝绽粉，点破春讯，飞泉沿幽谷蜿蜒而下，牵起山林灵动生机。一叶扁舟随波泛于烟水间，大片留白铺陈出空濛云水意境，尽现幽远之致。\n\n右侧题诗补全画中雅趣，笔致秀逸舒展，与山水景致相映成趣，将文人耽于林泉的悠然雅意融于尺幅之间。整幅淡冶雅致，既见青绿山水的明丽秀润，又有文人画的萧散意境，尽显春日山水的静穆清和。",[7,23,209,24,81,27,26,177,29,34,109,264,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05457a1878b4c600149d327541c4eeee.jpg",[],{"id":45347,"slug":45348,"title":45349,"dynasty":76,"author":7940,"museum":311,"description":45350,"tags":45351,"thumbUrl":45352,"material":139,"size":139,"collection":139,"collections":45353,"showCount":361,"zanCount":1337,"manualWeight":48,"mainColor":94},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[7,23,24,225,173,177,29,734,466,109,108,866,175,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":45355,"slug":45356,"title":45357,"dynasty":76,"author":45358,"museum":3808,"description":45359,"tags":45360,"thumbUrl":45361,"material":527,"size":45362,"collection":44,"collections":45363,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":255},224239,"lu-shan-guan-lian-shang-guan-zhou-224239","庐山观莲","上官周","此图是故事画，描绘东晋僧人慧远于庐山结社，与当时文人交往。左上题云：庐山远公开池种白莲，以十八人为社，社中陶渊明、谢灵运，一因无酒不至，一好游而长来。可见图中人物主要应是谢灵运、慧远。四人神态各异，而无不细致生动，十分传神",[7,23,24,27,106,136,315,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce0ec4aab08c39ddc115eb46ffc536d.jpg","纵374厘米横25厘米",[44],{"id":45365,"slug":45366,"title":45367,"dynasty":76,"author":3676,"museum":311,"description":45368,"tags":45369,"thumbUrl":45370,"material":139,"size":139,"collection":139,"collections":45371,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[7,209,23,24,25,173,29,177,384,865,385,33,109,1265,4272,14699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":45373,"slug":45374,"title":45375,"dynasty":189,"author":278,"museum":311,"description":45376,"tags":45377,"thumbUrl":45378,"material":139,"size":139,"collection":139,"collections":45379,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},223624,"cao-chong-tu-zhu-ye-juan-ben-yi-ming-223624","草虫图竹叶绢本","画面错落铺陈野趣生机，上方疏枝斜探，中段群芳舒展。明黄蜀葵柔丽妍秀，紫花秾艳、朱英点点，深浅花色交映成趣。粉蝶蹁跹、蜉蝣轻翔，草虫灵动如生，隐于枝叶花间。\n\n落笔工细秀逸，晕染雅致沉静，深褐绢底托衬出花木清妍，将初秋郊野的幽寂鲜活晕染开来。工致中带着写意澹远，把小景生机藏于古雅色调，静中含动，尽显写生花鸟的含蓄雅致，淡冶清和之间，古韵悠然流转，将草木虫豸之微末意趣，铺展成耐人品味的幽闲景致。",[7,23,209,24,67,27,28,511,5546,84,512,696,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed08f0802a9845b116d1f8c75cdf940.jpg",[],{"id":45381,"slug":45382,"title":45383,"dynasty":18,"author":278,"museum":311,"description":45384,"tags":45385,"thumbUrl":45386,"material":2164,"size":2165,"collection":139,"collections":45387,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},223621,"hu-jia-shi-ba-pai-quan-juan-yuan-pai-yi-ming-223621","胡笳十八拍全卷（原拍）","所谓“胡茄十八拍”，是指蔡琰谱写的茄谱及歌词的总称。明胡笳十八拍图卷为明中期摹本。无款印， 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远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[7,23,24,209,225,173,27,1628,1322,266,3875,229,926,9402,29,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],{"id":45675,"slug":45676,"title":45677,"dynasty":189,"author":4438,"museum":20,"description":45678,"tags":45679,"thumbUrl":45680,"material":699,"size":45681,"collection":139,"collections":45682,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},221751,"san-xia-qu-tang-tu-ye-sheng-mao-221751","三峡瞿塘图页","瞿塘峡的名胜古迹，多而又集中，游览者称便。此画为元代画家盛懋所作，其早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[7,23,24,81,29,173,27,174,434,34,176,37,1265,31,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b234dc745f130418cd0edc13a5a06d2.jpg","78X69厘米",[],{"id":45684,"slug":45685,"title":45686,"dynasty":189,"author":13710,"museum":1666,"description":45687,"tags":45688,"thumbUrl":45689,"material":16468,"size":45690,"collection":139,"collections":45691,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},221719,"bo-tu-yan-hui-221719","波图","颜辉，字秋月，生卒年不详，庐陵（今江西吉安）人，一作浙江江山人。宋末元初时人物画家，擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣，在画法上喜作水墨粗笔，用笔劲健豪放，笔法粗犷，有梁楷遗法。元代由于山水画、文人画兴起，作为人物画家的颜辉在中国画史埋没无闻，由于其作品流传日本较多，颜辉在日本受评甚高，对日本室町时代的绘画有较大影响。传世代表作有《钟馗雨夜出游图》，《蛤蟆仙人像》，《李仙像》，《猿图》。",[7,23,209,173,27,177,452,4579,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19116ef77f0b81a05d3b56d3f1454408.jpg","24.7×23.9cm",[],{"id":45693,"slug":45694,"title":45695,"dynasty":18,"author":1419,"museum":206,"description":45696,"tags":45697,"thumbUrl":45698,"material":573,"size":45699,"collection":139,"collections":45700,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[7,23,24,173,27,29,1365,266,229,15753,177,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","41.5x60厘米",[],{"id":45702,"slug":45703,"title":45704,"dynasty":18,"author":1419,"museum":20,"description":45705,"tags":45706,"thumbUrl":45707,"material":4130,"size":45708,"collection":139,"collections":45709,"showCount":361,"zanCount":2209,"manualWeight":48,"mainColor":49},221517,"han-shan-zi-tu-ma-yuan-221517","寒山子图","马远擅山水、花鸟、人物，其山水师法李唐，多画江浙山水，树木杂卉多用夹笔，用大斧劈皴带水墨画山石，方硬严整；构图取自然山水之一角，山峦雄奇峭拔，或峭峰直上而不见顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐。马远艺术上克承家学而超过了他的先辈，他继承并发展了李唐的画风，以拖技的多姿形态画梅树，尤善于在章法大胆取舍剪裁，描绘山之一角水之一涯的局部，画面上留出大幅空白以突出景观。",[7,209,23,24,2042,244,173,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92de5fcd660f91864765bf62958c6c1.jpg","49x53",[],{"id":45711,"slug":45712,"title":45713,"dynasty":18,"author":15168,"museum":15169,"description":15170,"tags":45714,"thumbUrl":45716,"material":699,"size":15175,"collection":139,"collections":45717,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},221478,"da-de-ming-tie-dong-fu-si-bian-e-zhi-ke-zhang-ji-zhi-221478","大德名帖东福寺匾额知客",[7,86,621,45715],"匾额","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a2b333ddb4874bc06ecd505be14c44.jpg",[],{"id":45719,"slug":45720,"title":45721,"dynasty":18,"author":323,"museum":311,"description":45722,"tags":45723,"thumbUrl":45724,"material":699,"size":45725,"collection":328,"collections":45726,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":94},221280,"wei-qing-dao-ren-tie-ye-huang-ting-jian-221280","惟清道人帖页","《惟清道人帖》中作者记录了惟清道人的操行品质及其与张商英（天觉）的交往。黄庭坚于北宋绍圣元年（1094年）在江西分宁，从帖文分析，此帖当书于其年夏日，时年51岁。帖中所提之惟清道人在《嘉泰录》卷六中有所记载，俗姓陈，南州武宁（在江西）人，为江西隆兴府黄龙寺禅师，北宋政和七年（1117年）卒。\n此帖行书行间宽绰而字间紧密，所以笔画多取横势，结体欹侧，左低右高，有峭拔之态，充分体现了黄庭坚小行书的特点，为其代表作品。\n此帖为清宫旧藏，收在《法书大观册》内。乾隆帝题赞“凌冬老干偃蹇岩壑”（《三希堂法帖》卷十三可见），后此赞墨迹及清内府藏印被挖去。\n著录于《妮古录》卷四、《平生壮观》卷二、《墨缘汇观》法书卷上。",[7,24,86,178,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c125c7929f0a4b3662a02431c4c44.jpg","纵29.3厘米，横31.8厘米",[328],{"id":45728,"slug":45729,"title":45730,"dynasty":99,"author":2494,"museum":101,"description":45731,"tags":45732,"thumbUrl":45733,"material":22798,"size":45734,"collection":328,"collections":45735,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},220900,"shu-xie-hui-lian-xue-fu-dong-qi-chang-220900","书谢惠连雪赋","致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡",[7,86,178,25,1775,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c263ae74a3e6eb56063e481f589130c.jpg","26.7 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舊俗疲庸主，群雄問獨夫。譏歸龍鳳質，威定虎狼都。 天屬尊堯典，神功協禹謨。風雲隨絕足，日月繼高衢。 文物多師古，朝廷半老儒。直詞寧戮辱，賢路不崎嶇。 往者災猶降，蒼生喘未蘇。指揮安率土，盪滌撫洪爐。 壯士悲陵邑，幽人拜鼎湖。玉衣晨自舉，鐵馬汗長趨。 松柏瞻虛殿，塵沙立冥途。寂寞開國日，流恨滿山隅。 右工部行次昭陵詩，困學民書。\n末识：“右工部行次昭陵詩，困學民書。”钤“鲜于”、“白几印章”、“箕子之裔”、“虎林隐吏”、“中山后人”印五方。卷末有王祎、宋濂二跋。鉴藏印记有清乾隆、嘉庆、宣统诸玺及梁清标、宋濂、王祎等印多方。\n这是鲜于枢以行书大字录写的杜甫五言《行次昭陵诗》。杜甫是唐朝著名的现实主义诗歌代表人物，他的作品内容大都与当时的朝政有关，此首诗亦充满了对国家兴衰的关注。\n此帖结体疏朗，笔势雄浑，与鲜于枢个人性情正相吻合。如柳贯所评：“公毅然美大夫，面带河朔伟气，每酒酣骜放，挥毫结字，奇态横生，势有不可遏者。”此卷是鲜于枢大字行书的代表作品。\n明顾复《平生壮观》卷四，清《石渠宝笈初编》卷三一，《故宫已佚书画目》著录。",[7,86,178,25,263,2547,38970,13759,4472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c203c0d459c74dc96ff17a149a16b3c.jpg","纵32厘米，横342厘米",[328],{"id":46128,"slug":46129,"title":46130,"dynasty":189,"author":645,"museum":311,"description":46131,"tags":46132,"thumbUrl":46133,"material":139,"size":139,"collection":139,"collections":46134,"showCount":591,"zanCount":1104,"manualWeight":48,"mainColor":94},239665,"hang-zhou-fu-shen-guan-ji-juan-zhao-meng-fu-239665","杭州福神观记卷","此作用笔圆劲苍润，起转提按皆具法度，既存唐楷端稳筋骨，又兼行书灵动意趣，点画粗细富于韵律，尽显笔底风华。\n\n通篇布局疏朗匀停，字势顾盼映带，长篇巨制却行气贯通一气呵成，枯湿浓淡交叠变化，整饬之中透着萧散雅逸的书卷清气。笔墨间融含静穆清虚之意，将方外福地的清灵韵致凝于笔端，尽显沉厚的笔墨功底与超然的文人意趣，是行书臻于化境的典范之作。",[7,86,178,25,263,173,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2129985fd99668b5192c226470e825.jpg",[],{"id":46136,"slug":46137,"title":46138,"dynasty":99,"author":7174,"museum":311,"description":46139,"tags":46140,"thumbUrl":46141,"material":139,"size":139,"collection":328,"collections":46142,"showCount":591,"zanCount":2209,"manualWeight":48,"mainColor":94},239611,"yang-sheng-lun-juan-zhu-yun-ming-239611","养生论卷","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[7,24,25,178,2570,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d67df0af9f879bce1f09da0c83364d1.jpg",[328],{"id":46144,"slug":46145,"title":46146,"dynasty":189,"author":645,"museum":20,"description":46147,"tags":46148,"thumbUrl":46149,"material":699,"size":46150,"collection":328,"collections":46151,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},239582,"zhang-zong-guan-mu-zhi-ming-juan-zhao-meng-fu-239582","张总管墓志铭卷","既具大楷沉着刚劲之气，又有小楷秀逸灵动之姿，在赵氏存世墨迹中甚少见。卷后有祝允明、永瑆题识。",[7,24,86,25,178,621,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ff13d72d8c1ed754db59d6fdcde15.jpg","纵32.7厘米；横259厘米",[328],{"id":46153,"slug":46154,"title":4479,"dynasty":76,"author":42671,"museum":311,"description":42672,"tags":46155,"thumbUrl":46156,"material":2164,"size":2165,"collection":139,"collections":46157,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},235466,"hua-hui-tu-ce-fan-ting-zhen-235466",[7,23,24,81,27,28,83,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec24b4e6b26268f987956331bbfe363b.jpg",[],{"id":46159,"slug":46160,"title":46161,"dynasty":99,"author":817,"museum":20,"description":46162,"tags":46163,"thumbUrl":46164,"material":139,"size":139,"collection":139,"collections":46165,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},234270,"wen-zheng-ming-song-yin-lun-gu-cheng-shan-wen-zheng-ming-234270","文徵明松阴论古成扇","文征明（1470一1559年）初名壁，一字征仲，号衡山，江苏长洲（苏州）人。是明代中期著名的画家，书法家。他与沈周、唐寅、仇英并列，合称“吴门四杰”。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。从正德到嘉靖年间，据《吴门画史》一书统计，吴派画家共有876人，人材济济，但在当时，出类拔萃，声名显赫，唯有沈周、文征明等一些人。\n文征明的书画造诣极为全面，其诗、文、画无一不精。人称是“四绝”的全才。他虽学继沈周，但仍具有自己的风格。他一专多能，能青绿，亦能水墨，能工笔，亦能写意。山水、人物、花卉、兰竹等无一不工。",[7,23,24,1352,27,106,403,29,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5db5d940afc01ae57628128afa2dc12.jpg",[],{"id":46167,"slug":46168,"title":46169,"dynasty":99,"author":46170,"museum":20,"description":46171,"tags":46172,"thumbUrl":46173,"material":841,"size":46174,"collection":139,"collections":46175,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":255},234228,"xi-shan-shen-xiu-juan-hou-mao-gong-234228","溪山深秀卷","侯懋功","北京故宫博物院藏晚明侯懋功名下的两件山水长卷内容与设色方式近乎一致，基本可判定二者出于同一稿本，属于书画鉴定中俗称的“双胞胎”，这两件作品分别现名为《邛崃图》和《溪山深秀图》。通过对两件作品现状及笔墨细节比较，笔者认为前者为真，且所绘与“邛崃”无关，应以《溪山深秀图》为是。从更广泛的艺术史角度看，侯氏《溪山深秀图》属于宋代以来流行的长卷“溪山图”画意范畴，并体现了明中后期吴门画派隐(避)居山水所发生的新变化。",[7,23,25,173,29,34,176,31,35,108,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5d1e0ed58bff06f6bd49f006660055.jpg","34 * 258cm",[],{"id":46177,"slug":46178,"title":43851,"dynasty":76,"author":15455,"museum":311,"description":46179,"tags":46180,"thumbUrl":46181,"material":139,"size":139,"collection":139,"collections":46182,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","查士标在《秋林暮霭图》的款识中曾说自己的山水画初学米芾，后学倪瓒，并且寻根求源，以自己的绘画实践追溯董、巨，从中探索绘画源流的发展变化。而创造米点山水的米芾和米友仁，他们在绘画上开创了水墨山水的新风尚，为了抒写胸臆而不求工细，即在董源水墨山水的基础上，挥洒出了江南烟雨空濛的景象。米芾长子米友仁，继承家学，作画尤其在于尽兴，自称“墨戏”。总体来看，“二米”山水多作江南平远景色，突破了前人运用线条表现峰峦、云水、树木的画格，另辟蹊径。山石不作轮廓，而用清水笔墨润泽出大概，再以淡墨渍染，然后用稍浓的墨笔破出并皴擦大体层次，趁笔墨尚湿之时再以大小错落的浓墨、焦墨横点叠垛。山体上部用墨稍浓，用笔较密，下部用墨稍淡，用笔较疏。云气以淡墨空勾并加以渲染。树木枝干多用浓墨一笔画出，以大浑点作叶。山脚坡岸用浓淡适中的水墨横扫，多数不加皴斫。整个过程显得随意而自然，表现出江南山水烟雨蒙眬、丘陵晦明、丛林隐现的意境，大大丰富了中国山水画的表现技法。这种新的山水风格，对元以后的水墨山水产生了较大影响。从目前所见画迹来看，查士标最早一幅仿米家山水的作品，是顺治十七年（1660）夏四月所作《山谷闲云图》。其题诗有云：“闲云无四时，散漫此山谷。\n幸乏霖雨姿，何妨媚幽独。”该幅作品完全仿学米氏云山，横点山、树之形，间及渲染，烟雨空濛之景跃然纸上。题诗也不乏自得之意，可以见出查士标在米家山水方面下过较大的功夫。除此之外，查士标临仿米家山水的作品尚有很多，如北京荣宝斋藏查士标康熙二年（1663）嘉平月六日夜作《云树江村图》、扬州市博物馆藏查士标康熙五年（1666）六月作《云山图》、故宫博物院藏查士标康熙十一年（1672）作《鹤林烟雨图》、山西省博物馆藏查士标康熙十三年（1674）秋天作《米家云山图》和故宫博物院藏查士标康熙十九年（1680）六月作《南山云树图》等，这些作品都是他学习米家山水的优秀代表。其中，扬州市博物馆所藏《云山图》，是查士标52岁时仿学米友仁《楚山清晚图》而作。该画主峰突起，衬以远山，近处桥屋树木，均寥寥数笔，然墨气淋漓，大有烟雨空濛之感。在作品中，查士标抓住了米友仁自称“墨戏”的特点—写意大于写形，因此在构图形式与笔墨变化上，较米友仁更为肆意潇洒。米友仁在画中以横点水墨的浓淡积染，分出山体的层次，试图摆脱轮廓线的束缚，但画中的墨点还是显得比较严谨、缜密，细察之下还有无形的轮廓线在羁绊着笔墨的灵动。而到了查士标这里，画面近乎泼墨，充分体现了他在用墨上的灵动变化。特别是上述故宫博物院藏其康熙十九年（1680）六月作《南山云树图》长卷，作品以“迷远法”构图，图中云雾占有大半。卷首云海弥漫，山峦隐约可见，远山坡脚随着云气的浮动变幻，逐渐显露，并重叠起伏地展开，远处峰峦终于出现在团团白云之中。中段主峰耸立，林木扶疏，表现出远近层次。全卷云树掩映，峰峦明灭，处处体现出生意郁勃的造化生机和苍莽雨雾的特殊韵致。画面水墨淋漓，少见笔触，形象不作具体细致的刻画，含蓄自然，浑然一体，给人留下了远景云山空濛的印象。查士标在款识中有云：\n康熙庚申六月，余客润州。再登金山，留宿慈云阁。雨中为德润禅兄画南山云树，仿米家笔意，累日乃竣事。\n根据他的款识记载，我们知道这件作品是他在润州（今镇江）登金山，看到烟江缥缈的景致后，联想起米家山水的粉本，触景生情而作。这件作品也得到了后人的称赞，如清人张熊在题跋中评说：\n此卷仿米家泼墨云山，简淡清新，直欲上追宋元。洵是罕见逸品，岂浅学者所能梦见耶。",[7,23,173,25,105,29,734,2279,384,108,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":46184,"slug":46185,"title":46186,"dynasty":99,"author":25360,"museum":20,"description":46187,"tags":46188,"thumbUrl":46189,"material":841,"size":46190,"collection":139,"collections":46191,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},234152,"feng-yuan-dang-xiong-tu-juan-ding-yun-peng-234152","冯媛挡熊图卷","此图以翠竹、梧桐、椿树、湖石为背景，表现了冯媛挡熊的故事场景。据《汉书•外戚传下•冯昭仪》记载，西汉建昭年间，元帝率左右随从，于后宫观斗兽。突然有熊逸出圈，攀栏欲上殿，冯婕妤冲上前挡熊而立，保护元帝免遭伤害。“冯媛当熊”应为爱君之典。《汉书》卷三十六称“《列女传》凡八篇，以戒天子”。",[7,23,24,25,28,27,106,808,32503,34,176,63,178,1163,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F830255b25762baaa67f04e22303126f0.jpg","纵32.6厘米，横148.8厘米",[],{"id":46193,"slug":46194,"title":46195,"dynasty":76,"author":46196,"museum":206,"description":46197,"tags":46198,"thumbUrl":46199,"material":527,"size":46200,"collection":139,"collections":46201,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[7,23,24,225,173,27,28,177,29,106,34,865,1365,35,31,176,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":46203,"slug":46204,"title":46205,"dynasty":18,"author":8332,"museum":311,"description":46206,"tags":46207,"thumbUrl":46209,"material":67,"size":46210,"collection":139,"collections":46211,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[7,209,23,25,27,26,28,29,384,2137,46208,17891,176,466,263],"獐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":46213,"slug":46214,"title":46215,"dynasty":18,"author":19894,"museum":9826,"description":46216,"tags":46217,"thumbUrl":46218,"material":573,"size":46219,"collection":139,"collections":46220,"showCount":591,"zanCount":2209,"manualWeight":48,"mainColor":49},232618,"luo-han-xi-zhuo-tu-li-zhou-lin-ting-gui-232618","罗汉洗濯图立轴","这幅画描绘的是佛教僧侣日常生活中的一个场景，属于一套一百幅描绘五百罗汉或佛教圣人的挂轴。这套画于1175年由一位佛教方丈委托，三年后由林庭珪和另一位画家周季常共同完成。这些画在13世纪被运往日本，最终成为京都佛教寺庙大德寺的财产。1894年，需要修缮资金的大德寺在美国波士顿展出了其中44幅卷轴，其中10幅售出。这幅画是当时日本人赠送给美国巡回展的组织者，后者于1902年把它卖给了查尔斯·朗·弗利尔（Charles Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[7,209,23,24,225,243,27,28,106,865,109,558,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":46222,"slug":46223,"title":46224,"dynasty":277,"author":19031,"museum":311,"description":46225,"tags":46226,"thumbUrl":46227,"material":2164,"size":2165,"collection":139,"collections":46228,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德（1543年～1590年），日本画家。名州信，通称源四郎。1543年1月13日生于山越国（今京都），卒于1590年9月14日。他的传世作品还有《唐狮子屏风》、《桧图屏风》及《洛中洛外图屏风》等。",[7,209,23,24,1218,27,29,384,109,176,2279,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":46230,"slug":46231,"title":46232,"dynasty":277,"author":278,"museum":311,"description":46233,"tags":46234,"thumbUrl":46240,"material":2164,"size":2165,"collection":139,"collections":46241,"showCount":591,"zanCount":2209,"manualWeight":48,"mainColor":49},231681,"jiang-hu-shi-qi-fo-jiao-wu-dao-juan-yi-ming-231681","江户时期 佛教舞蹈卷","长卷铺陈群舞盛景，人物排布回旋错落，似随隐于画外的乐律踏跃。武士挎刀振臂、僧者执幡领舞、平民袒裼驱步，各色人等妆容衣饰各异。\n简劲灵动的线条勾出衣袂飘举之姿，古雅淡朴的敷色晕开旧时光晕，以稚拙笔触定格每一帧鲜活动态，将祭典的庄严与歌舞的恣肆相融，让观者仿若闻声踏节，窥见信仰与欢娱交织的旧时鲜活图景。",[7,25,27,106,243,46235,28,46236,27024,46237,46238,46239,436,28696,33972,28113,17006],"舞蹈","江户时期","传统人物画","动态人物","佛教主题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ebc5b9296bbaf10e56fb89232ba2a.jpg",[],{"id":46243,"slug":46244,"title":46245,"dynasty":277,"author":278,"museum":311,"description":46246,"tags":46247,"thumbUrl":46249,"material":2164,"size":2165,"collection":139,"collections":46250,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},231659,"bu-dong-ming-wang-ba-da-tong-zi-xiang-yi-ming-231659","不动明王八大童子像","正中明王身色玄黑，忿怒相威严逼人，身周烈焰翻卷如浪，将降魔的慑人气场拉满。环伺的童子神态各异，或怒目圆睁彰显忿怒护法之态，或垂首恭谨尽显侍从之仪。\n衣纹线条苍劲流畅，朱砂焰纹与沉褐底色交织碰撞，古雅厚重的敷色晕染开岁月的质感。整幅画面主次分明，以明王为核心铺陈开密宗护法的仪轨秩序，工笔精湛入微，将密教忿怒本尊的威慑力与宗教美术的庄严感相融，虽经时光磨蚀，依旧能传递出镇邪安正的肃穆力量。",[7,23,24,243,106,27,17116,281,46248,28],"明王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F036997ed5ab0dc4ea2b11b135b0b2416.jpg",[],{"id":46252,"slug":46253,"title":46254,"dynasty":277,"author":34092,"museum":311,"description":46255,"tags":46256,"thumbUrl":46257,"material":2164,"size":2165,"collection":139,"collections":46258,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},231617,"bai-miao-shi-er-tian-tu-xiang-huo-tian-zhen-hai-231617","白描十二天图像 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创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[7,23,24,225,28,27,106,808,8726,8436,29,34,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":46317,"slug":46318,"title":46319,"dynasty":76,"author":1744,"museum":311,"description":46320,"tags":46321,"thumbUrl":46322,"material":139,"size":139,"collection":139,"collections":46323,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},230141,"si-yan-lian-zheng-ban-qiao-230141","四言联","此作用笔纵逸老辣，主体“得大自在”四字雄开张拓，线条提按顿挫尽显朴厚筋骨，带着标志性的“六分半书”意趣，融诸体于一体，打破规整法度，奇崛跌宕。\n\n两侧小字题款灵动流美，与大字形成疏密虚实的鲜明对比，让整幅章法错落和谐，气息贯通无碍。墨色枯湿浓淡相宜，枯笔见苍劲，重墨显沉浑，将书法的形式美感与“得大自在”的禅意抒怀完美相融，尽显作者疏朗超脱的襟怀，把清人尚意抒怀的书法特质挥洒尽致，文气与笔力共生，是极具个人风格的书法精品。",[7,23,24,225,173,7024,178,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f41e7ff2e617d50d91127a94c018d01.jpg",[],{"id":46325,"slug":46326,"title":46327,"dynasty":76,"author":46328,"museum":311,"description":46329,"tags":46330,"thumbUrl":46331,"material":139,"size":139,"collection":139,"collections":46332,"showCount":591,"zanCount":2209,"manualWeight":48,"mainColor":94},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[7,23,24,81,173,177,29,107,175,174,176,34,37,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":46334,"slug":46335,"title":46336,"dynasty":99,"author":817,"museum":311,"description":27771,"tags":46337,"thumbUrl":46338,"material":2164,"size":2165,"collection":139,"collections":46339,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[7,23,24,1352,27,173,29,1365,35,106,966,34,176,1267,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":46341,"slug":46342,"title":46343,"dynasty":99,"author":100,"museum":311,"description":3607,"tags":46344,"thumbUrl":46345,"material":2164,"size":2165,"collection":139,"collections":46346,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},228856,"shan-mian-hua-xuan-chou-ying-228856","扇面画选",[7,23,24,1352,28,27,106,174,29,384,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc80210af56788cd85ba9dc0cd734cc.jpg",[],{"id":46348,"slug":46349,"title":46350,"dynasty":99,"author":936,"museum":311,"description":46351,"tags":46352,"thumbUrl":46353,"material":139,"size":139,"collection":139,"collections":46354,"showCount":591,"zanCount":2209,"manualWeight":48,"mainColor":49},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","《五泄山志》是《五泄山志》编纂委员会编纂的地方志。\n本志记述范围，重点是五泄风景主景区9．5平方公里，以在建景区5平方公里为环界。\n有些必要涉及的人、物、事件，记述范围为传统意义上的整个五泄区域内。\n记述年代，上限不定，下限至2年，个别事件延伸到成稿之时。\n封面 五泄山志 《五泄山志》编纂委员会顾问 《五泄山志》编纂委员会 《五泄山志》编纂室 图片 江泽民与夏征农亲切握手 尉健行视察五泄 俞正声视察五泄 张德江视察五泄 曾培炎视察五泄 五泄导游图 绿树掩清溪 五泄水上森林公园 五泄东龙湫 夹岩烟雨 五泄东湫阁 白鹤临湖 五泄春来早 春在溪头 西源——绿色氧吧 银杏秋韵 江南罕见楠木林 画舫迎客 空气洁净蓝天白云 溪水悠悠 西源步幽亭 灵默真身塔 五泄禅寺 唐·灵默舍利子宝瓶 南北朝砖雕观音 果实(种子)化石 五泄古石器 灵默禅师舍利子 古寺玉兰 山龟 水濑 穿山甲 鸳鸯 眼镜蛇 花蝶 金钱豹 山鸡 蝶恋石蒜花 编纂人员合影 荣誉 陈洪绶《五泄图轴》 五泄山水甲天下 附图 序 《五泄山志》编辑凡例 概述 大事记 目录 第一篇 地理环境 第一章 自然地理 第一节 地理位置 第二节 地理面积 第三节 地理交通 第二章 地质地形 第一节 地质地层 第二节 风景地貌 第三节 土壤 第四节 地形成因 第三章 水文 第一节 水系 第二节 水文测量 第三节 雨量 第四节 经流量、水位 第五节 水质供水量 第四章 旅游气象 第一节 温度和日照 第二节 雨日和概率 第三节 雾和风 第四节 霜和雪 第二篇 自然资源 第五章 植物 第一节 木本植物 第二节 草本药物 第三节 古树名木 第六章 动物 第一节 哺乳纲(兽类) 第二节 鸟纲(禽类) 第三节 爬行纲 第四节 两栖、鱼纲 第五节 昆虫纲 第六节 其它类 第七章 土特产 第一节 土纸 第二节 茶叶 第三节 竹笋 第四节 干鲜果 第三篇 景区沿革 第八章 五泄畈村 第一节 姓氏由来 第二节 群落区划 第三节 移民外迁 第九章 五泄林场 第一节 历史演变 第二节 森林培育 第三节 森林管护 第四节 经营规划 第十章 五泄水库(五泄湖) 第一节 历史背景 第二节 建库经过 第三节 工程规模 第四节 工程效益 第五节 大坝除险加固 第六节 管理体制 第四篇 景区开发 第十一章 县级景区 第一节 项目提出 第二节 组织调查 第三节 确定建设 第四节 合力开发 第五节 首期规划 第六节 开通观瀑通道 第十二章 省级景区 第一节 实地调查 第二节 科学考察 第三节 组织考察 第三节 总体规划 第四节 批准省级景区 第十三章 国家重点风景名胜区 第一节 申报 第二节 创建 第三节 考察与评估 第四节 总体规划 第五篇 风景名胜 第十四章 平湖揽胜 第一节 紫藤长廊 第二节 坝顶揽胜 第三节 平湖泛舟 第四节 湖上观峰 第五节 湖后景观 第十五章 五级飞瀑 第一节 蛟龙出海 第二节 烈马奔腾 第三节 诸态备出 第四节 珠濂飘洒 第五节 隽永奇巧 第十六章 西源探幽 第一节 幽谷 第二节 奇峰 第三节 险崖 第四节 怪石 第五节 清溪碧潭 第六节 朱林 第七节 趣桥 第八节 紫微岭 第九节 刘龙坪 第十七章 开发中的景点 第一节 青口 第二节 玉京洞 第三节 遗址与沈氏宗祠 第六篇 宗教 第十八章 沿革 第一节 历史变迁 第二节 日寇罪迹 第三节 兴衰历程 第十九章 高僧 第一节 灵默 第二节 藏奂 第三节 良价 第四节 正元 第五节 苏溪 第六节 贯休 第七节 茂真 第八节 智三 第九节 敏康 第十节 慈明 第二十章 五泄禅寺 第一节 地理位置 第二节 悠久历史 第三节 寺院佛像 第四节 如意宝塔 第五节 寺院特色 第二十一章 良价祖庭 第一节 曹洞圣迹 第二节 良价出师图 第三节 祖师纪念像 第四节 曹洞宗风 第二十二章 寺院藏品 第一节 灵默石棺 第二节 舍利子宝瓶 第三节 祖师白玉像 第四节 佛像、陶俑、砖雕瓦档 第五节 匾牌、碑刻、字画 第二十三章 佛教活动 第一节 建立、健全寺内规章 制度 第二节 编印五泄禅寺史迹 第三节 开展佛教文化交流 第七篇 管理 第二十四章 管理机构 第一节 行政隶属 第二节 机构沿革 第三节 五泄风景旅游管理局 第四节 公安派出所 第二十五章 现代专业管理 第一节 文物管理 第二节 防火管理 第三节 林木管理 第四节 水库管理 第五节 卫生管理 第六节 规划管理 第七节 工商管理 第八节 安全管理 第八篇 旅游 第二十六章 游览活动 第一节 名人游山 第二节 旅游线路 第三节 大型活动 第二十七章 旅游接待 第一节 五泄旅游公司 第二节 诸暨旅行社 第三节 五泄游客接待中心 第二十八章 服务设施 第一节 馆舍 第二节 交通 第三节 通讯 第四节 商店 第五节 水电 第六节 娱乐 第二十九章 名产 第一节 土特产 第二节 风味小吃 第三节 工艺品 第九篇 文学艺术 第三十章 史志典籍摘抄 第一节 专著拾英 第二节 辞书条目 第三节 史志摘录 第四节 禅史节选 第三十一章 诗词 第一节 五泄胜景(综合篇) 第二节 飞瀑奇观 第三节 西源峡谷 第四节 禅寺觅踪 第五节 平湖掠影 第六节 歌曲 第七节 外围(规划)景点拾零 第三十二章 散记 第一节 游踪散记 第二节 游记纵揽 第三节 开发纪实 第三十三章 石刻联额 第一节 摩崖石刻 第二节 匾额楹联 第三节 书画墨宝 附：编余文化 第三十四章 民间传说 第一节 神话传说 第二节 民间故事 第三节 佚事旧闻 附：本志编辑参考书目 后记 版权页",[7,23,24,225,173,177,29,176,34,557,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":46356,"slug":46357,"title":745,"dynasty":189,"author":20059,"museum":311,"description":46358,"tags":46359,"thumbUrl":46360,"material":139,"size":139,"collection":139,"collections":46361,"showCount":591,"zanCount":2209,"manualWeight":48,"mainColor":49},228258,"mo-zhu-tu-zhang-yu-228258","此作用淡墨挥写新竹，枝茎瘦劲清健，自斜角逸出，竹叶疏密有致、俯仰生姿，寥寥数笔便将竹的疏朗孤傲尽显。不着浓艳，仅以水墨晕染出君子清拔之态，尽显文人写意画的极简意趣。\n画面搭配题咏诗书，印信点缀其间，诗书画印相融，将竹的霜节高格与作者幽淡襟怀合而为一，以竹喻人、托物言志。浅淡墨痕里藏着林下高致，萧散笔墨间尽是淡泊脱俗的心境，虽是水墨小品，却将文人画借物抒怀的意韵表达尽致，尽显水墨写心的清雅魅力。",[7,209,23,24,173,178,263,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55750a6d6d41cc71996763bb18ed76ba.jpg",[],{"id":46363,"slug":46364,"title":46365,"dynasty":189,"author":7354,"museum":311,"description":46366,"tags":46367,"thumbUrl":46368,"material":139,"size":139,"collection":139,"collections":46369,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[7,209,23,24,25,244,28,243,106,808,34,176,2508,4140,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":46371,"slug":46372,"title":46373,"dynasty":18,"author":278,"museum":311,"description":46374,"tags":46375,"thumbUrl":46376,"material":139,"size":139,"collection":139,"collections":46377,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[7,209,23,24,1352,27,28,104,106,107,2607,227,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":46379,"slug":46380,"title":46381,"dynasty":18,"author":23107,"museum":311,"description":46382,"tags":46383,"thumbUrl":46386,"material":139,"size":139,"collection":139,"collections":46387,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[7,23,24,1352,27,29,177,28,151,46384,34,1265,229,109,46385],"堤岸","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":46389,"slug":46390,"title":46391,"dynasty":18,"author":23107,"museum":311,"description":46392,"tags":46393,"thumbUrl":46394,"material":139,"size":139,"collection":139,"collections":46395,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[7,23,24,1352,27,29,177,263,1365,107,174,176,34,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":46397,"slug":46398,"title":46399,"dynasty":18,"author":46400,"museum":206,"description":46401,"tags":46402,"thumbUrl":46403,"material":712,"size":139,"collection":139,"collections":46404,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},227720,"yun-ding-shan-shi-juan-xue-shao-peng-227720","云顶山诗卷","薛绍彭","薛绍彭行草书《云顶山诗卷》等杂书卷，纸本，26.1x303.5cm。台北故宫博物院藏。\n\n此卷由四帖所组成，含《云顶山诗》、《上清帖》等，其中有诗作有信札，内容都涉及到四川的风物，是薛绍彭在四川作官时与友人倡和之作。云顶山的云顶寺在四川广汉，此作书於建中靖国元年（1101），可知薛绍彭此时已入川為绵州梓潼路漕。上清宫位在四川青城山上，始建於晋代，是著名的道教胜地。左绵山在四川绵阳（今绵阳）北方。诗中“岳王楼”在绵州（今四川绵州东）西北，旧名“岳王台”，唐显庆中，太宗子越王贞為刺史时所建。",[7,86,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd35e7eb66535a2091fe015b24658a8c.jpg",[],{"id":46406,"slug":46407,"title":23026,"dynasty":18,"author":19930,"museum":311,"description":46408,"tags":46409,"thumbUrl":46410,"material":139,"size":139,"collection":139,"collections":46411,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[7,23,24,25,244,173,106,150,2508,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":46413,"slug":46414,"title":46415,"dynasty":18,"author":5346,"museum":311,"description":33426,"tags":46416,"thumbUrl":46419,"material":139,"size":139,"collection":139,"collections":46420,"showCount":591,"zanCount":2209,"manualWeight":48,"mainColor":94},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷",[7,23,24,25,173,177,263,178,1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(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[7,23,24,25,173,177,29,106,107,108,109,174,175,266,1423,866,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":46444,"slug":46445,"title":46446,"dynasty":277,"author":16142,"museum":311,"description":46447,"tags":46448,"thumbUrl":46449,"material":139,"size":139,"collection":139,"collections":46450,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},226652,"qiu-dong-shan-shui-tu-er-qiu-jing-xue-zhou-226652","秋冬山水图二（秋景）","雪舟等杨是日本绘画史上“汉画派”的开创者和集大成者，他的绘画代表着日本汉画的最高成就，他所处的时代是汉画的全盛期。雪舟等杨，12岁入相国寺为僧，热衷于绘画，曾师从日本的山水画大师学习绘画，兼容并蓄临摹了大量的中国宋元的水墨画样式。为了探究中国画之真谛，1467年，他作为画僧随日本遣明使节来到中国，历览中国名山大川，创作了大量的山水画，并向各方绘画大师交流绘画技艺。他领悟到中国画的根源在于中国的自然风物，中国的自然风物是最好的老师。",[7,23,24,173,225,29,107,174,176,109,177,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62940e9c2c67e15be413e65dd353aee4.jpg",[],{"id":46452,"slug":46453,"title":46454,"dynasty":76,"author":21699,"museum":311,"description":34680,"tags":46455,"thumbUrl":46456,"material":139,"size":139,"collection":139,"collections":46457,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},226633,"si-shi-shan-shui-06-pu-ru-226633","四时山水06",[7,23,24,81,173,177,29,30,34,558,109,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a07a1da90f3721a821c6ce420630cd0.jpg",[],{"id":46459,"slug":46460,"title":46461,"dynasty":76,"author":15455,"museum":311,"description":46462,"tags":46463,"thumbUrl":46464,"material":139,"size":139,"collection":139,"collections":46465,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},224259,"qing-shan-bian-ju-zhou-cha-shi-biao-224259","青山卞居轴","此作用笔简淡松灵，枯笔皴擦绘就远山，留白晕染出烟水空濛。近岸茅亭孑然独立，疏柳杂木错落萧疏，淡墨轻写出浅滩陂陀，处处漫溢着清寂冷逸。\n\n整幅师法云林笔意，删去俗冗细节，以极简线条勾勒物象，铺陈出江南水村的静穆清旷。无浓墨重彩，只以干笔淡墨写尽荒寒淡远，隔绝尘嚣的幽居之景跃然纸上，寄寓着幽隐世外的襟怀，尽显简淡清逸的文人风神，将空寂淡远融于尺幅之间，观之如临无人之境，心绪随烟水一同沉静。",[7,23,225,173,177,244,29,175,865,4272,176,109,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006ae7f50b438d9d6964e4b663017571.jpg",[],{"id":46467,"slug":46468,"title":46469,"dynasty":76,"author":1563,"museum":311,"description":46470,"tags":46471,"thumbUrl":46472,"material":139,"size":139,"collection":139,"collections":46473,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},224172,"han-mei-cui-niao-tu-hua-yan-224172","寒梅翠鸟图","水墨写就老梅枯干，苍劲嶙峋，以浓淡墨色晕染出覆霜带雪的清寒况味，淡粉轻缀梅花，疏落间暗透暗香。\n三只禽鸟各有意态，枝上两只翠鸟头颈相偎，亲昵宛然，羽色晕染细腻柔和；另有一鸟振翅掠空，灵动破寂，为萧寒画面添上蓬勃生趣。\n右侧题跋行书笔致洒脱，文辞与画意相融，更衬出文人雅意。全作用留白铺就冬日清寂底色，却于冷逸间藏着融融生机，将写生的鲜活与文人笔墨的简逸灵秀合而为一，落笔传神尽显幽淡空灵的冬韵雅趣。",[7,23,24,173,27,400,83,402,9063,266,658,1629,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ddfd247e50aebab76cda504b1f8c58f.jpg",[],{"id":46475,"slug":46476,"title":46477,"dynasty":76,"author":278,"museum":311,"description":46478,"tags":46479,"thumbUrl":46480,"material":139,"size":139,"collection":139,"collections":46481,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[7,209,23,24,25,28,27,104,29,107,106,1755,264,175,36,35,115,4140,298,176,31,1807,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":46483,"slug":46484,"title":46485,"dynasty":54,"author":278,"museum":311,"description":46486,"tags":46487,"thumbUrl":46488,"material":46489,"size":46490,"collection":328,"collections":46491,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},223397,"tang-mo-huang-ting-jing-quan-juan-yi-ming-223397","唐摹黄庭经全卷","《黄庭经》是道教经典，叙述的养身方面的，分为《外景经》和《内景经》二种，而此卷为《外景经》，卷后依次有宋代滕仲嚞、明代董其昌和元代陈绎曾题跋。本摹本书法峭快，结构稳固，字字传神，为后人学习临摹好字帖。",[7,209,24,25,621,105,86,622,263,5152,10270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3b9a8c80c061dcb0801cde82733274.jpg","纸本，楷书","40X190cm",[328],{"id":46493,"slug":46494,"title":46495,"dynasty":18,"author":278,"museum":311,"description":46496,"tags":46497,"thumbUrl":46498,"material":573,"size":46499,"collection":139,"collections":46500,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},223376,"chu-ping-mu-yang-tu-yi-ming-223376","初平牧羊图","此图不知原载何册，也没有作者姓氏。但画法甚为高超，人物尤精。在描绘人物动态和神情方面，画家具有高超的技艺。",[7,23,24,1352,27,28,106,6545,384,176,2310,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d3b9f87123433d8f4bab4bb4d8cd5e.jpg","23.5*24.6厘米",[],{"id":46502,"slug":46503,"title":46504,"dynasty":76,"author":278,"museum":20,"description":46505,"tags":46506,"thumbUrl":46508,"material":46509,"size":46510,"collection":139,"collections":46511,"showCount":591,"zanCount":2209,"manualWeight":48,"mainColor":94},223366,"guang-xu-nian-jian-bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-223366","光绪年间白缎地广绣三阳开泰挂屏心","此挂屏心是在白色缎地上施五彩绣。画面中一轮红日高挂，草木葱郁，山石玲珑，3只羊嬉戏于湖边草地上，9只瑞鸟飞鸣栖息于花间树梢，展现出一派春光明媚、万物滋生的美好景象。作品采用了洒插针、辫子股针、扭针、刻鳞针、打籽针和风车针等针法，针工细密，有较强的立体感。三只羊形态各异，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，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[7,23,24,25,173,178,86,29,177,175,1365,176,266,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":46696,"slug":46697,"title":46698,"dynasty":99,"author":16327,"museum":583,"description":46699,"tags":46700,"thumbUrl":46704,"material":699,"size":46705,"collection":139,"collections":46706,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},222319,"xi-yuan-shi-juan-wang-chong-222319","西苑诗卷","《西苑诗》为明代书法家王宠所书，是王宠的行书力作。该作书于1530年，正值王宠盛年。王宠一生极其短暂，写完此书后的第三年就去世了。",[7,178,86,25,8289,1646,29,46701,16126,263,46702,46703],"池沼","疏朗秀雅","明代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350669abdb79a0b55660e6422bb97d35.jpg","25×235cm",[],{"id":46708,"slug":46709,"title":36120,"dynasty":99,"author":170,"museum":78,"description":36121,"tags":46710,"thumbUrl":46711,"material":573,"size":36124,"collection":139,"collections":46712,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},222132,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222132",[7,23,24,81,27,29,177,107,174,1253,34,109,7944,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb344ee3c9cde2e862603824960d7fefa.jpg",[],{"id":46714,"slug":46715,"title":46716,"dynasty":99,"author":9612,"museum":206,"description":46717,"tags":46718,"thumbUrl":46719,"material":88,"size":46720,"collection":139,"collections":46721,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":49},222079,"hua-su-shi-liu-dai-tu-zhou-cui-zi-zhong-222079","画苏轼留带图轴","崔子忠（？-1644），字道母，是明末著名的“变形主义”画家，画中如梅枝树石等方折的造型，即为其特色。此作描绘的是苏轼与金山寺僧佛印说偈，输了腰上玉带的故事。画中苏东坡手上所持的蓝色带状物，或许就是崔子忠想象中的玉\n第三次南巡时，乾隆皇帝想起藏在御书房中的崔子忠《画苏轼留带图》，命人快递至江南欣赏留跋。从此之后，崔子忠此轴也成了南巡行李箱中的常备成员，每每于金山寺中与苏轼玉带一同欣赏展玩。",[7,23,24,225,27,28,106,866,176,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2038d1e050db9cc5392e7d0aa0a73114.jpg","79.4 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“始亦规摹宋元之撰，既悟笔意，遂悉弃去，专法晋唐，小楷虽自《黄庭》《乐毅》中来，而温纯精绝，虞、褚而下弗论也。”\n纵观其传世作品，虽各阶段书风略显不同，早期形体略扁，起笔尖细，多棱角; 中期如丰坊《书诀》所述: “五十岁以后，因书诰敕，颇兼时体，渐尚整齐”； 晚年则宗法二王，人书俱老，已入化境。\n但却可以看出他一生都沉浸于小楷，正如王世懋云: “衡山先生……时作小楷，多偏锋，太露芒颖，年九十犹作蝇头书，人以为仙。然行笔未免涩强，其最称合作者，以字行后五六十时也。”可见其对小楷的用功极深。",[7,24,86,621,178,173,699,263,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0979d9d6d2e102a78d798de62745e07.jpg","34×74厘米",[],{"id":46749,"slug":46750,"title":46751,"dynasty":189,"author":18423,"museum":56,"description":46752,"tags":46753,"thumbUrl":46754,"material":1691,"size":46755,"collection":139,"collections":46756,"showCount":591,"zanCount":48,"manualWeight":48,"mainColor":94},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[7,209,23,24,25,173,244,177,86,178,263,29,226,34,3341,108,109,106,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":46758,"slug":46759,"title":46760,"dynasty":189,"author":18509,"museum":206,"description":46761,"tags":46762,"thumbUrl":46763,"material":699,"size":46764,"collection":181,"collections":46765,"showCount":591,"zanCount":2209,"manualWeight":48,"mainColor":94},221728,"shi-jing-you-tan-fang-cong-yi-221728","石径幽探","方从义善画，又兼工诗文、书法。其画初师 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，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[7,209,23,24,28,27,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e084133cc7dc0b63f3c2d393ccdc9.jpg","186×106公分",[],{"id":47274,"slug":47275,"title":47276,"dynasty":18,"author":8332,"museum":101,"description":47277,"tags":47278,"thumbUrl":47279,"material":67,"size":47280,"collection":139,"collections":47281,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":49},232770,"hua-hui-ling-mao-tu-juan-yi-yuan-ji-232770","花卉翎毛图卷","图绘鸟儿七只，有绿头鹦鹉，黑色八哥，红嘴小鸟，每只鸟儿神情生动，跃然纸上，羽毛细致多彩，惟妙惟肖，作为背景的花枝和花朵亦真实生动，整幅画重彩描绘，有着华丽富贵之美。",[7,209,23,24,25,28,27,83,84,266,402,759,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbe402d5f65c003ca020ad05276bb40.jpg","31.8cm×258.4cm",[],{"id":47283,"slug":47284,"title":16576,"dynasty":18,"author":2483,"museum":206,"description":47285,"tags":47286,"thumbUrl":47287,"material":527,"size":47288,"collection":139,"collections":47289,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":629},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[7,209,23,24,225,27,29,107,108,109,174,28,177,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":47291,"slug":47292,"title":47293,"dynasty":277,"author":278,"museum":311,"description":47294,"tags":47295,"thumbUrl":47296,"material":2164,"size":2165,"collection":139,"collections":47297,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[7,23,24,25,27,104,28,243,107,108,109,175,29,34,176,1518,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":47299,"slug":47300,"title":47301,"dynasty":76,"author":15455,"museum":311,"description":47302,"tags":47303,"thumbUrl":47304,"material":139,"size":139,"collection":139,"collections":47305,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":94},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[7,23,24,225,173,177,29,174,266,866,109,229,867,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":47307,"slug":47308,"title":47309,"dynasty":76,"author":10054,"museum":311,"description":47310,"tags":47311,"thumbUrl":47312,"material":139,"size":139,"collection":139,"collections":47313,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":49},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[7,23,24,27,28,177,29,106,108,109,1322,264,770,5243,4304,7922,21613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":47315,"slug":47316,"title":47317,"dynasty":277,"author":13773,"museum":311,"description":13774,"tags":47318,"thumbUrl":47320,"material":2164,"size":2165,"collection":139,"collections":47321,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},230655,"yu-jia-mu-xiang-xi-zang-tang-ka-230655","瑜珈母像",[7,22263,47319,243,8567,27,106,46235],"卷轴画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282103b47786ff8178fb97e77c8701c5.jpg",[],{"id":47323,"slug":47324,"title":47325,"dynasty":277,"author":16142,"museum":311,"description":16143,"tags":47326,"thumbUrl":47327,"material":2164,"size":2165,"collection":139,"collections":47328,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},230505,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-er-ping-xue-zhou-230505","室町时代 四季花鸟图屏风-二屏",[7,23,27,28,1365,369,266,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff786dfaab4c789f09b02ecc5404306e5.jpg",[],{"id":47330,"slug":47331,"title":47332,"dynasty":277,"author":47333,"museum":311,"description":47334,"tags":47335,"thumbUrl":47343,"material":2164,"size":2165,"collection":139,"collections":47344,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},230480,"fu-shi-hui-juan-mu-he-tian-wen-cun-230480","浮世绘巻","目贺田文村","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[7,13178,25,27,106,117,8760,47336,47337,210,4140,7013,4304,47338,14604,47339,27236,47340,47341,47342],"笼子","担子","日常用具","箱子","行走","交易","玩耍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff608c952df2fbc7cf2073369489e54a8.jpg",[],{"id":47346,"slug":47347,"title":16085,"dynasty":76,"author":17548,"museum":311,"description":47348,"tags":47349,"thumbUrl":47350,"material":2164,"size":2165,"collection":139,"collections":47351,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[7,23,24,25,27,28,29,175,106,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":47353,"slug":47354,"title":47355,"dynasty":76,"author":278,"museum":311,"description":47356,"tags":47357,"thumbUrl":47358,"material":2164,"size":2165,"collection":139,"collections":47359,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":49},230330,"chao-xian-guan-yuan-xiao-xiang-zhou-yi-ming-230330","朝鲜官员肖像轴","这幅肖像工致写实，将宦者气度凝于绢素。画中人物面容沉凝，银髯垂胸，眉峰微蹙自带持重威严，眉眼晕染细腻，将阅尽世事的沉稳刻画入微。\n素色官袍晕染柔和雅致，衣纹舒展自然，乌纱帽制式严谨细节毕现，暗合礼制规制。座椅铺陈的豹纹裘饰，低调彰显尊荣身份，背景织锦纹样规整古雅，烘托出肃穆沉静的氛围。\n整体笔意克制内敛，兼顾纪实传神与礼制象征，尽显士大夫的端方儒雅，是传统肖像画兼具审美与礼制内涵的典型之作。",[7,23,225,27,106,28,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db95857ae99b5f83df15929d5968cba.jpg",[],{"id":47361,"slug":47362,"title":28075,"dynasty":76,"author":7940,"museum":311,"description":47363,"tags":47364,"thumbUrl":47365,"material":139,"size":139,"collection":139,"collections":47366,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[7,23,24,25,27,29,177,1365,176,35,1265,34,175,109,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":47368,"slug":47369,"title":47370,"dynasty":76,"author":2103,"museum":311,"description":47371,"tags":47372,"thumbUrl":47373,"material":139,"size":139,"collection":139,"collections":47374,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[7,23,24,104,27,28,107,29,34,114,115,176,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":47376,"slug":47377,"title":47378,"dynasty":99,"author":22851,"museum":311,"description":47379,"tags":47380,"thumbUrl":47382,"material":139,"size":139,"collection":139,"collections":47383,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":94},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[7,23,24,25,27,28,106,29,108,109,175,1365,4272,264,1640,47381,1643,178],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":47385,"slug":47386,"title":47387,"dynasty":99,"author":1014,"museum":311,"description":47388,"tags":47389,"thumbUrl":47390,"material":2164,"size":2165,"collection":139,"collections":47391,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[7,23,24,25,243,106,29,173,27,177,86,178,263,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":47393,"slug":47394,"title":47395,"dynasty":99,"author":170,"museum":311,"description":47396,"tags":47397,"thumbUrl":47398,"material":2164,"size":2165,"collection":139,"collections":47399,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[7,23,24,25,29,27,173,177,178,263,734,384,770,174,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":47401,"slug":47402,"title":47403,"dynasty":99,"author":278,"museum":311,"description":47404,"tags":47405,"thumbUrl":47406,"material":139,"size":139,"collection":139,"collections":47407,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[7,23,209,24,27,28,177,8436,808,403,1775,558,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],{"id":47409,"slug":47410,"title":47411,"dynasty":99,"author":18033,"museum":311,"description":47412,"tags":47413,"thumbUrl":47414,"material":139,"size":139,"collection":139,"collections":47415,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[7,23,24,25,173,27,29,2607,109,174,266,3899,106,867,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":47417,"slug":47418,"title":4405,"dynasty":76,"author":42070,"museum":311,"description":47419,"tags":47420,"thumbUrl":47421,"material":139,"size":139,"collection":139,"collections":47422,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},228397,"fang-ju-ran-shan-shui-liu-du-228397","此作用披麻皴晕染山石肌理，层叠山峦似含江南烟岚，氤氲着湿润朦胧的空寂质感。近岸苍松杂木蓊郁，山居屋舍掩映林间，汀渚蜿蜒入水，清波澹澹漾开涟漪，将幽居野逸之趣藏于丘壑之间。\n\n笔墨追摹古意，苍润兼具，把山林幽寂、溪声松涛的林下之思铺陈开来，恍如引观者踏入避世桃源，静赏林泉烟霞，尽得山水寄情的悠远意韵。",[7,23,29,105,177,173,557,34,109,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8672297878af1e9fe4bc94a8e35ae8.jpg",[],{"id":47424,"slug":47425,"title":47426,"dynasty":99,"author":27897,"museum":311,"description":47427,"tags":47428,"thumbUrl":47429,"material":139,"size":139,"collection":139,"collections":47430,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[7,23,24,25,173,29,226,34,109,263,178,2570,177,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":47432,"slug":47433,"title":47434,"dynasty":99,"author":37342,"museum":311,"description":47435,"tags":47436,"thumbUrl":47437,"material":2164,"size":2165,"collection":139,"collections":47438,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[7,209,23,24,225,1218,173,27,177,403,176,109,1087,106,34,1265,37,5384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[7,23,24,25,27,28,104,106,107,34,115,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":47481,"slug":47482,"title":999,"dynasty":18,"author":2297,"museum":311,"description":47483,"tags":47484,"thumbUrl":47485,"material":139,"size":139,"collection":139,"collections":47486,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},227950,"mu-niu-tu-li-di-227950","淡墨晕开暮色山岗，枯木寒槎的枝桠如铁线劲挺，萧疏间漫着郊野冬日的荒寒意趣。坡岸间老牛缓步垂首，憨拙身形似正衔着衰草慢行，幼犊轻捷随行左右，一大一小的动静反差，晕开牧归时分的松弛温情。\n\n画作以淡赭晕染坡石，水墨铺陈烟霭，不着过多繁复刻画，以极简笔墨铺展出山野清寂氛围，于淡远荒寒中藏着质朴的田园意趣，寥寥数笔便融物态与意境为一体，尽现独有的雅致淡远诗意。",[7,209,23,24,1352,27,28,29,226,384,151,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f28a98374dd8c8b309719c6f9a66639.jpg",[],{"id":47488,"slug":47489,"title":47490,"dynasty":18,"author":278,"museum":311,"description":47491,"tags":47492,"thumbUrl":47493,"material":139,"size":139,"collection":139,"collections":47494,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},227898,"shou-lie-tu-yi-ming-227898","狩猎图","元佚名狩猎图卷，绢本，辽宁省博物馆藏。\n设色，画心纵1，横19厘米。\n画峰峦叠起，沟壑纵横，溪流坡地，竹树杂处，野草漫生。\n一队身着民族服装的猎手，纵马控弦，在山谷间围堵追杀猎物。\n前部为连绵远山，坡谷间有三猎手围杀野猪、狍鹿、山兔等，场面紧张激烈，扣人心弦。\n中段作崇山环抱，沟壑交错，一猎手跌落马下，弓箭散落各处，后面三骑，迅来救助；而转过一座陡峭山峰，一带溪水自远而来，两岸长满杂草和杨树。\n画末为险峻石壁，一只雄隼咬住一只大雁颈项，雁在拚命挣扎，余四只鸣叫着四处飞逃。\n在一片较平坦的谷地间，立着一杆认旗，二长者调马备鞍。\n全图气势辽阔苍茫，笔法古朴雄浑，山石以勾勒与晕染并施，而皴法则不拘一格。\n以写实为主，山水多信笔为之，不免粗豪简率。\n而人物和马匹刻画细腻，得唐宋等前人笔法颇多。\n慓悍、浑朴之态表现得体，番马体相勾划准确。\n所绘景物、山水树石具有明显北国特色；马匹短足毛蹄，亦属蒙古马种；人物宽额高颧，为典型蒙族形象；服饰也同元初蒙族服饰相类。\n是元初北方画家典型写实之作，也是一卷难得的艺术珍品。",[7,23,1004,27,28,106,150,808,266,8437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256486f4089412a35f1dcfbd1fd99352.jpg",[],{"id":47496,"slug":47497,"title":35913,"dynasty":18,"author":1419,"museum":311,"description":47498,"tags":47499,"thumbUrl":47500,"material":139,"size":139,"collection":139,"collections":47501,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},227830,"yuan-yang-tu-ye-ma-yuan-227830","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[7,23,24,81,27,28,226,109,2053,229,83,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":47503,"slug":47504,"title":47505,"dynasty":18,"author":1419,"museum":311,"description":47506,"tags":47507,"thumbUrl":47509,"material":139,"size":139,"collection":139,"collections":47510,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},227825,"xing-lv-tu-tuan-shan-ma-yuan-227825","行旅图团扇","此作以边角取景，以简淡笔墨晕染出江南烟柳暮色。劲挺的笔法写垂柳，柔丝拂动暗藏骨力，烟霭轻笼水岸，将空濛湿冷的暮色铺陈开来。\n\n寥寥数笔勾勒出行旅队伍，策骑主仆行色匆匆，荒村野渡隐在淡墨轻烟之间，虚实相映间，羁旅清寂的况味尽显。\n\n古绢沉暗掩不住墨色层次干湿浓淡的精妙，以简驭繁，把征途的萧索与水村烟景的淡远相融，空灵雅致，将宋画小景的隽永意趣藏在暮色烟岚之中，余韵悠然。",[7,23,1352,173,29,106,150,8761,47508,13402,27398,467,20284,36457,20321],"荒村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d2515aac4ec3064cf85d6df21f21cd.jpg",[],{"id":47512,"slug":47513,"title":47514,"dynasty":18,"author":47515,"museum":311,"description":47516,"tags":47517,"thumbUrl":47519,"material":139,"size":139,"collection":139,"collections":47520,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},227800,"yan-jiang-fan-ying-tu-xia-sen-227800","烟江帆影图","夏森","此作用淡墨晕染出空濛烟江，远山清瘦，隐在漫卷的雾霭中，只露出错落峰尖，虚实间揉碎了天地边界，将江南烟雨的柔婉朦胧铺展开来。近岸林木简笔勾勒，与烟岚相融，愈发衬出江天的空寂辽远。左下角孤舟凌波，渔人悠然棹行，寥寥数笔便点染出江上行旅的幽寂况味。\n\n全幅以留白衬出水天长阔，笔简意足，将静穆禅意藏在烟波里，把江上一瞬的清寂之美定格，淡远含蓄，尽显山水空濛悠远的诗意。",[7,23,24,209,1352,173,29,174,3019,384,37,47518,263],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf554147c093468663cf70503980f95.jpg",[],{"id":47522,"slug":47523,"title":47524,"dynasty":18,"author":47525,"museum":311,"description":47526,"tags":47527,"thumbUrl":47528,"material":139,"size":139,"collection":139,"collections":47529,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},227761,"shu-han-wen-gao-quan-juan-zhu-xi-227761","书翰文稿(全卷)","朱熹","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n\n朱熹行草《书翰文稿》卷，此卷分为前后两段，前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米。此卷中部分内容为：“老拙衰病，幸未即死；但脾胃终是怯弱，饮食小失节，便觉不快。兼作脾泄挠人，目疾则尤害事，更看文字不得也。”又：“我者是亦似矣。然反身而诚，乃物格知至以后之事，言其穷理之至，无所不尽。故凡天下之理，反求诸身，皆有以见其如目视、耳听、手持、足行之事，毕具于此。”这里所说主要是修身养性及日常之事，心态平和，徐徐道来。\n\n该作品后有元、明两代共有十一位书画家的题识跋浯，内容包括朱熹画像。",[7,209,23,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165c1f3f4c3ffb316f2d335641b0d856.jpg",[],{"id":47531,"slug":47532,"title":47533,"dynasty":1483,"author":5503,"museum":1098,"description":47534,"tags":47535,"thumbUrl":47536,"material":139,"size":139,"collection":139,"collections":47537,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},227710,"song-ta-bao-mu-tie-quan-juan-wang-xian-zhi-227710","宋搨保母帖全卷","王献之（344年－386年），字子敬，小名官奴，汉族，祖籍琅玡临沂（今山东临沂），生于会稽山阴（今浙江绍兴）。东晋著名书法家、诗人、画家，为书圣王羲之第七子、晋简文帝司马昱之婿。官至中书令，为与族弟王珉区分，人称“大令”，与其父王羲之并称为“二王”。与张芝、钟繇、王羲之并称“书中四贤”。 王献之自幼聪明好学，在书法上专攻草书隶书，也擅长绘画。他自小跟随父亲练习书法，胸有大志，后期兼取张芝，自创新体。他以行书和草书闻名，但是楷书和隶书亦有深厚功底。王献之亦善画，张彦远在《历代名画记》中目其画为“中品下”。",[7,86,620,178,25,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230b293c4212ad01d0e3e459b678bbfa.jpg",[],{"id":47539,"slug":47540,"title":47541,"dynasty":18,"author":16226,"museum":311,"description":47542,"tags":47543,"thumbUrl":47544,"material":139,"size":139,"collection":139,"collections":47545,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[7,209,23,24,1218,104,177,27,176,34,1079,174,466,1266,107,1265,1617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":47547,"slug":47548,"title":47549,"dynasty":18,"author":8191,"museum":311,"description":47550,"tags":47551,"thumbUrl":47552,"material":139,"size":139,"collection":139,"collections":47553,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},227685,"hu-qi-qiu-lie-tu-chen-ju-zhong-227685","胡骑秋猎图","宋 陈居中(传) 胡骑春猎图 绢本设色 24.1x27.3cm 美国大都会艺术博物馆藏\n南宋画家陈居中的传世作品大多以北方少数民族风情故事为题材，形成了与其他南宋画家迥然不同的艺术风格，戈壁大漠的粗犷刚烈也使他在宋代院体画家中卓尔不群。《胡骑春猎图》与陈居中的这些特点颇为相符，表现出作者对当时横行漠北的“胡人”（北方少数民族）的生活有着很深的了解。",[7,23,209,24,1352,28,27,106,150,808,8437,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c8ba97540b5f270c33c54937383a0f.jpg",[],{"id":47555,"slug":47556,"title":47557,"dynasty":18,"author":5878,"museum":311,"description":47558,"tags":47559,"thumbUrl":47560,"material":139,"size":139,"collection":139,"collections":47561,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":49},227512,"tong-xi-tu-ye-su-han-chen-227512","童戏图页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。\n\n儿童生性活泼好奇，在他们的眼里，每样事物都新奇有趣，都想要探索、尝试。而游戏、玩具不仅能启发心智，也能锻练强健的体魄，是他们用以探索世界的工具。",[7,23,24,81,28,27,106,229,865,27971],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e088f168b45c22f7031b2d125dc9812.jpg",[],{"id":47563,"slug":47564,"title":47565,"dynasty":18,"author":278,"museum":311,"description":47566,"tags":47567,"thumbUrl":47568,"material":2164,"size":2165,"collection":139,"collections":47569,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":629},227367,"yu-lin-ku-003-ku-zhu-shi-xi-bi-yi-ming-227367","榆林窟003窟主室西壁","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[7,538,243,29,107,176,34,173,27,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9750ce4f94c586b51d9307a835d50ecb.jpg",[],{"id":47571,"slug":47572,"title":47573,"dynasty":18,"author":278,"museum":311,"description":47574,"tags":47575,"thumbUrl":47576,"material":139,"size":139,"collection":139,"collections":47577,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},227344,"nan-tang-wen-hui-tu-yi-ming-227344","南唐文会图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[7,23,24,27,28,106,29,34,298,1114,178,86,228,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a6e27647f006a060beabf4f36b4ffa.jpg",[],{"id":47579,"slug":47580,"title":3514,"dynasty":18,"author":553,"museum":206,"description":47581,"tags":47582,"thumbUrl":47583,"material":139,"size":139,"collection":139,"collections":47584,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},227292,"shu-se-ping-yuan-tu-guo-xi-227292","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[7,23,24,25,1218,173,177,29,34,1265,9691,866,1423,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":47586,"slug":47587,"title":62,"dynasty":76,"author":21699,"museum":311,"description":21700,"tags":47588,"thumbUrl":47589,"material":139,"size":139,"collection":139,"collections":47590,"showCount":716,"zanCount":1337,"manualWeight":48,"mainColor":94},226644,"hua-pu-ru-226644",[7,23,24,27,28,83,62,759,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed57ef2871355f1a1c8e705a5a4935bc.jpg",[],{"id":47592,"slug":47593,"title":47594,"dynasty":76,"author":2987,"museum":311,"description":47595,"tags":47596,"thumbUrl":47597,"material":139,"size":139,"collection":139,"collections":47598,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[7,23,225,173,403,226,2380,176,29,83,177,14282,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],{"id":47600,"slug":47601,"title":11775,"dynasty":76,"author":47602,"museum":311,"description":47603,"tags":47604,"thumbUrl":47605,"material":139,"size":139,"collection":139,"collections":47606,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":94},224533,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-224533","祁豸佳","此作用笔追摹前贤意趣，主峰奇崛高耸，淡墨晕染石身，浓墨点苔醒出山岩苍古肌理，山间林木疏密错落，枯荣相映。近岸虬松老干遒劲，枝桠舒张如盖，临水茅庐静立，二人凭栏晤谈，衬出林下幽寂雅趣。\n整幅以高远法布局，虚实相生，留白处晕出山岚氤氲，将山野幽居的静谧萧散尽数铺展。笔墨简淡清逸，淡墨皴擦间尽显山水温润空濛，又自具峭爽格调，尽显文人寄情林泉的雅致意趣。",[7,23,24,225,173,177,29,1365,35,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7804fca5f15a8af04239b286d359bd.jpg",[],{"id":47608,"slug":47609,"title":47610,"dynasty":76,"author":963,"museum":311,"description":47611,"tags":47612,"thumbUrl":47613,"material":139,"size":139,"collection":139,"collections":47614,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},224505,"shan-shui-ce-kai-shi-shi-tao-224505","山水冊开(十)","此作以淡墨晕染山水，江上扁舟轻漾，白衣士人立舟头，身伴仙鹤，与撑篙舟子共赴江天。远山以浅赭淡墨晕化，似笼着氤氲薄雾，虚实相生间尽显江空岑寂之美。近岸以枯涩焦笔勾勒嶙峋怪石，与淡远云山形成刚柔对照。右侧题笔纵逸苍劲，诗画相融，将乘舟遣兴的悠然襟怀诉诸笔端，以简淡之笔写尽江湖散人意趣，笔墨随心生发，尽显随性放达的文人风骨。",[7,23,24,173,29,174,106,734,263,86,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329d8a848e21eec4000cbfe815172720.jpg",[],{"id":47616,"slug":47617,"title":47618,"dynasty":76,"author":963,"museum":311,"description":47619,"tags":47620,"thumbUrl":47621,"material":139,"size":139,"collection":139,"collections":47622,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},224499,"shan-shui-ce-kai-san-shi-tao-224499","山水冊开(三)","石涛（1642—177）名原济，号大涤子、清湘老人、苦瓜和尚、济山僧、瞎尊者等。\n石涛原名朱若极，明代藩靖江王后裔，父朱享嘉于南明隆武时在广西自称“监国”，遭俘杀。\n石涛便隐匿起来，后出家为僧。\n石涛曾游历过许多名山大川，有“搜尽奇峰打草稿”、“笔墨当随时代”名言。\n石涛晚年寓居扬州，卖画为业。\n这里介绍的石涛山水，是藏于故宫博物院、以唐代王维、李白、张说等人诗意创作的八开册页中的一页。\n每开册页纵2.厘米，横16.5厘米，纸本，水墨淡设色。\n石涛擅山水、花卉，师宋、元诸家，参以造化，自创一格，笔墨清新多变、天真烂漫，对后世影响极大。\n石涛与石溪并称“二石”，再加朱耷、弘仁，便称“清初四画僧”。\n石涛存世作品尚多，著述则有《苦瓜和尚画语录》、《 》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[7,23,173,27,177,81,29,174,866,35,176,34,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":47624,"slug":47625,"title":47626,"dynasty":76,"author":7940,"museum":311,"description":47627,"tags":47628,"thumbUrl":47629,"material":139,"size":139,"collection":139,"collections":47630,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[7,23,24,225,105,173,177,29,2019,30,558,34,466,13661,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":47632,"slug":47633,"title":16576,"dynasty":76,"author":1215,"museum":311,"description":47634,"tags":47635,"thumbUrl":47636,"material":139,"size":139,"collection":139,"collections":47637,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[7,209,23,24,225,173,29,34,176,35,468,1365,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":47639,"slug":47640,"title":47641,"dynasty":76,"author":1929,"museum":311,"description":47642,"tags":47643,"thumbUrl":47644,"material":139,"size":139,"collection":139,"collections":47645,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},224319,"hua-niao-ce-shi-kai-9-li-shan-224319","花鸟册十开9","淡粉晕染月季花瓣，瓣尖轻施浓色，将盛放的娇柔饱满、花苞含露的娇憨情态描摹尽致。带刺的细枝斜逸舒展，枝叶晕染出阴阳向背，鲜活生动。旁侧行草题字笔势纵横跌宕，墨色浓淡错落，诗画相映。\n\n花木的缱绻生机，合着文人疏放的笔墨意趣，形神兼备。笔简意足，在秀雅鲜活的写生中，又带着独有的桀骜风骨，将花木情态与文人心绪融于尺幅之间，尽显写意风神。",[7,23,24,81,27,83,691,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c574adcbda1a40cb7c88b1fb4f19147.jpg",[],{"id":47647,"slug":47648,"title":47649,"dynasty":76,"author":1929,"museum":311,"description":47650,"tags":47651,"thumbUrl":47652,"material":139,"size":139,"collection":139,"collections":47653,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},224312,"hua-niao-ce-shi-kai-2-li-shan-224312","花鸟册十开2","这幅大写意花鸟以纵逸笔墨铺陈，水墨晕染枝叶，浓淡干湿错落间，将叶片舒展之态尽显，笔意随性疏朗，不囿于细枝末节，却晕开草木清灵生机。\n\n两只禽鸟栖于枝桠，一俯一仰灵动鲜活，淡墨轻点头颈绒毛，浓墨晕染翅尾肌理，简括数笔便将禽鸟神形尽数勾勒，意趣盎然。右侧题字率意朴拙，书画相映成趣，浑然相融。\n\n整幅画尽显纵恣不羁的写意风骨，脱略形似而独求意气，寥寥笔墨便将枝间闲趣跃然纸上，寄寓着悠然闲适的文人意趣。",[7,209,23,24,81,173,83,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c260e3230891761922e78c776eb0f72.jpg",[],{"id":47655,"slug":47656,"title":47657,"dynasty":76,"author":1563,"museum":311,"description":47658,"tags":47659,"thumbUrl":47660,"material":139,"size":139,"collection":139,"collections":47661,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},224193,"gao-zhi-hao-niao-tu-hua-yan-224193","高枝好鸟图","此作用笔秀逸空灵，枯柳斜曳而上，柔条垂落拂动，浅粉桃苞绽于老枝，点破浅春淡寂。丹羽禽鸟栖于细枝，俯身侧目，将恋花娇态摹写生动，蓬松的羽色以没骨晕染，鲜活明丽，尽现翎毛柔润光泽。\n\n墨色干湿互衬，枯笔点苔写柳骨，淡墨轻描柳叶清姿，留白铺就淡远空濛的底色。右侧题诗与画境相合，诗画交融，将春鸟娇啼、窥影共情的诗意融在尺幅之间，简淡中藏生机，尽显隽雅疏朗的文人意趣，把春日幽微意绪晕染在笔墨方寸里。",[7,23,24,83,400,27,370,926,264,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30dec5d8321ce381f3e219c75141f00.jpg",[],{"id":47663,"slug":47664,"title":41523,"dynasty":76,"author":1563,"museum":311,"description":47665,"tags":47666,"thumbUrl":47667,"material":139,"size":139,"collection":139,"collections":47668,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},224190,"guan-quan-tu-hua-yan-224190","此作画境清逸古雅，右上角古木盘曲，垂藤轻曳，飞泉自崖间潺潺而下。崖下雅士踞石观泉，仰首凝神，似将身心融于泉声林色之中，旁侧童子携囊持壶，静立相随，愈衬画面幽寂。\n\n笔墨苍润秀灵，淡赭铺底晕出春日空濛，浓墨点染木叶，山石勾勒皴擦结合，写意中不失细腻。题诗与画境相得益彰，将草青花初的春景与泉鸣相融，尽显文人寄情林泉、静赏山水的闲逸襟怀，清隽淡远，观之如临其境，恍闻泉声松风。",[7,23,225,173,27,106,29,34,558,466,109,1112,281,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455ed575cfebe4bc1c8c2a52961e950.jpg",[],{"id":47670,"slug":47671,"title":47672,"dynasty":76,"author":47673,"museum":311,"description":47674,"tags":47675,"thumbUrl":47677,"material":139,"size":139,"collection":139,"collections":47678,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":94},224167,"ting-ruan-tu-liu-yan-chong-224167","听阮图","刘彦冲","《 》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[7,28,27,106,210,34,226,806,10876,1112,7885,4304,176,5310,47676,263,436],"书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":47680,"slug":47681,"title":47682,"dynasty":18,"author":278,"museum":311,"description":47683,"tags":47684,"thumbUrl":47685,"material":139,"size":139,"collection":139,"collections":47686,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},223611,"zhu-ting-yuan-yang-tu-yi-ming-223611","竹汀鸳鸯图","画面截取江南水隅一角，修竹偃仰扶苏，以劲健墨笔勾写枝叶，浓淡晕染间，尽显层叠错落的清生意趣。汀洲之上，一对鸳鸯恬然依偎，翎毛细笔丝染，绒羽蓬松柔润，将亲昵温婉的情态描摹入微。\n\n水面留白晕开薄雾空蒙，三两水鸟掠波振翅，于静景中添灵动生机。全作用浅褐绢底烘托苍雅墨色，工写相融，既以精微笔触写实花鸟形质，又晕染出暮色江汀的清寂空濛，将江南水畔的闲澹之景，揉入宋人内敛含蓄的雅致意趣，尽显古典院体花鸟画的妍丽与空灵。",[7,209,23,24,28,27,83,226,2053,266,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38af8970d0e9b3d6c4052a52cdd7776.jpg",[],{"id":47688,"slug":47689,"title":47690,"dynasty":76,"author":278,"museum":311,"description":47691,"tags":47692,"thumbUrl":47694,"material":139,"size":139,"collection":139,"collections":47695,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 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者断为祝四十岁左右师古之作，有一定道理。观其 点画、结体，《兰亭》意味极浓，又有钟法存乎其 间，淳厚典雅，参以赵孟頫，然变化多致；其行笔 从容不迫，笔笔到位，一派君子之风。此类前贤师 古之作对我们今天学书法者极有借鉴价值。\n祝允明（1460——1526）明代重要书 家，字希哲，号枝山。生而枝指，又号枝指生。长 洲（今江苏苏州）人。与徐祯卿、唐寅、文徵明 号称吴中四才子。以举人授兴宁令，稍迁应天府 通判，未几乞归。书法受外祖父徐有贞和岳父李 应祯指点，上自张芝、钟繇、二王、索靖、智永， 下迄唐宋元之虞世南、欧阳询、张旭、怀素、苏 轼、黄庭坚、米芾、赵孟頫等无不用心。其书法无 论真、草，法度森严，全以力胜。其真行以元常、 王羲之为宗，借鉴于赵孟頫，写得古厚蕴藉；草 书法乳于二王，犹得力于山谷，其点画长戈大戟， 生辣厚重，力量更在山谷之上。祝允明草书名世， 为二王、旭素、山谷后最重要的草书家，一是草 法纯正，二是有鲜明个性特征。读他的草书大作， 奔腾如虬蛇的点画，汹涌如大河的气势促人振 奋，有很强的感招力。这种情形是斤斤于艺事，追 求优雅闲适的书家所难以梦见的境界。草贵气 势，祝允明草书正以气势胜，但他草中之点画分 明，毫无苟且之处，犹如作真。他是一位杰出的 入古以出新者，他在《奴书订》中说：『觚筦士 有「奴书」之论，亦自昔兴，吾独不解此。艺家 一道，庸讵缪执至是，人间事理，至处有二乎哉？ 为圆不从规，拟方不按矩，得乎？自粗归精，既 据妙地，少自翔异，可也。必也革其故而新是图， 将不故之并亡，而第新也与。故尝谓自卯金当涂， 底于典午，音容少殊，神骨一也。沿晋游唐，守 而勿失。今人但见永兴匀圆，率更劲瘠，郎邪雄 沉，诚悬强毅，与会稽分镳，而不察其为祖宗本 貌自粲如也（帖间固存）。迩后皆然，未暇遑计。 赵室四子，莆田恒守惟肖，襄阳不违典刑；眉、豫 二豪，啮羁蹋靮，顾盼自得。观者昧其所宗：子 瞻骨干平原，股肱北海，被服大令，以成完躯。鲁 直白云得长沙三昧。诸师无常而具在，安得谓果 非陪臣门舍耶？而后人泥习耳聆，未尝神访，无 怪执其言而失其旨也。遂使今士举为秘谈，走也 狂简，良不合契，且即肤近。为君谋之，绘日月 者，心规圆而烜丽，方而黔之，可乎？啖必谷，舍 谷而草，曰谷者「奴餐」，可乎?学为贤人必法 渊赐；晞圣者必师孔。违洙泗之衺曲，而曰为孔、 顏者「奴贤」、「奴圣」者也，可乎？』反映了 他这一思想。\n之所以说祝允明书法是一个伟大的未成品， 是因为他的书法仍以『实』称，虚境未全现，而 由实入虚、虚实相生是书道之至境。今人徒务虚 而涉谈境界者，常会轻视他的重于法度，直如只 欲得花，而不知花本生于根与枝叶也．",[7,86,19967,621,178,25,2547,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406c903a42458b570f3fc10f0d8d774d.jpg","纵20.1cm，横161cm",[],{"id":47883,"slug":47884,"title":47885,"dynasty":99,"author":25790,"museum":20,"description":47886,"tags":47887,"thumbUrl":47888,"material":1488,"size":47889,"collection":139,"collections":47890,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},222427,"san-tuo-tu-li-shi-da-222427","三驼图","《三驼图》绘三个驼背的老者，一提篮侧顾，一向提篮者作揖，一拍手大笑，三人形象滑稽，笑态可掬。画家以驼者之间的相互戏谑，来讽喻“世上无直人”。衣纹用“浑描”，须发皆不见钩勒痕迹，笔墨圆润，柔若无骨，可见作者高度的笔墨造型功力。其上方有钱允治诗云：“张驼提盒去探亲，李驼遇见问缘因；赵驼拍手呵呵笑，世上原来无直人。”点明了此幅的讽世主题。李士达的此画如钱允治的题诗一样，将民间歌谣形之于画图，带有通俗而又诙谐的情调。",[7,23,24,225,173,244,106,263,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bc90e03e64b2e24f32eaba2b927d55.jpg","纵78.5厘米，横30.3厘米",[],{"id":47892,"slug":47893,"title":47894,"dynasty":99,"author":15579,"museum":56,"description":47895,"tags":47896,"thumbUrl":47897,"material":27523,"size":47898,"collection":139,"collections":47899,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":49},222078,"hu-fu-chun-qing-tu-xie-shi-chen-222078","虎阜春晴图","《明谢时臣虎阜春晴图》是明代画家谢时臣的作品，此画虚实结合，层次分明，笔墨稳健，湿墨渲染，衬托出江南春日胜迹的润郁宜人之色。此图为作者晚年对虎丘写生之作。\n谢时臣的作品笔法酣畅，墨色稳健，气势恢弘，与他同时期的吴门画派诸家的画则气格相对狭小，这更显出谢时臣绘画的魄力之大。但是，如果把他的作品和沈周、文徵明的作品做一比较，就会发现他的作品略显匠气。正如清代姜绍书在《无声诗史》中对谢时臣画的评价：“长卷巨幛，纵横自如，气势有余，韵秀不足。”\n《虎阜春晴》的布局来看，此图既有王蒙层峦叠嶂、构图紧密的绘画特点，又有谢时臣自己的绘画特征。曲折的山间小路和弯曲的流水给画面平添了无限的意趣。这样，欣赏者的目光就可以随之缓缓上移。远处江面开阔，云气缭绕。画面轻灵生动，意境开阔，于大幅之中透露出精致、典雅的格调。\n《图绘宝鉴续纂》称谢时臣的山水画“人物点缀，极其潇洒”。点景人物虽然只是山水画的点缀，不是独立的一种艺术表现形式，但它作为一种特殊的情感表现载体，赋予了山水画更多的思想色彩。它是山水画中必不可少的组成部分，常常具有“点睛”的作用。能否表现好点景人物，是衡量画家艺术水平高低的一个重要因素。由《虎阜春晴》来看，谢时臣不愧为绘制点景人物的能手。全图有近三十个点景人物，虽寥寥数笔，但都神态毕现、栩栩如生。譬如，近景船头有一人，手捧杂物，双腿微曲，正等船靠岸。画家把他等船的专注神情很好地刻画出来。更让人叫绝的是，画家仅用两笔就把远景舟船中的艄公和船客生动地表现出来。",[7,23,173,177,104,225,29,107,108,109,174,175,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5a2216ff13e70d6b7a9c5d0713dc22.jpg","纵162.4厘米，横39.2厘米",[],{"id":47901,"slug":47902,"title":22783,"dynasty":99,"author":817,"museum":311,"description":45650,"tags":47903,"thumbUrl":47904,"material":67,"size":45653,"collection":328,"collections":47905,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":94},222013,"qian-zi-wen-quan-juan-wen-zheng-ming-222013",[7,86,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d71153f24ac240045c29a0c4ff8888.jpg",[328],{"id":47907,"slug":47908,"title":47909,"dynasty":189,"author":13710,"museum":222,"description":47910,"tags":47911,"thumbUrl":47912,"material":4130,"size":47913,"collection":139,"collections":47914,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":49},221720,"zhong-kui-yu-ye-chu-you-tu-juan-yan-hui-221720","钟馗雨夜出游图卷","画面绘钟馗在鬼族是簇拥下雨夜巡游的情形。画中七个鬼卒，牛头马面，头戴蒙军头盔，类似杂要，正击鼓簇拥钟馗夜游，寄寓了画家蔑视蒙古统治者既仇恨又无赖的心情。\n其笔法浑厚坚实敦朴流畅，不乏宋代院体人物之工细，其造型生动传神，意态舒畅洒脱抒情而又有艺术性和理，不象刘贯通、王绎等人笔下人物之肖象，准确、逼真、刻板而写实。\n画面清旷幽冷，形象深遂含蓄，堪称精品。作为对宋体工致写实画风的承继与元代画风渐显写意抒情之势的前启，颜辉的人物画是承前启后的关捩。",[7,13447,244,25,106,2161,2508,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c78d99f746b70906b57c0cd5975c505.jpg","24.8cmx240.3cm",[],{"id":47916,"slug":47917,"title":47918,"dynasty":189,"author":6413,"museum":311,"description":47919,"tags":47920,"thumbUrl":47921,"material":7541,"size":47922,"collection":139,"collections":47923,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":94},221693,"xia-shan-guo-yu-tu-gao-ke-gong-221693","夏山过雨图","画上绘近处树木葱郁，水面波纹忽隐忽现，一蓑翁架着小舟悠然荡于河上，远处山峦起伏，云雾缭绕，画家绘出一幅雨后山青水秀的美景。高克恭，字彦敬，号房山，其所作的《云横秀岭图》精妙绝伦描绘出烟雨林峦的景色。",[7,23,1352,173,27,29,174,109,34,557,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc38d444bf3717efb9f2d5f10e4e3b9.jpg","纵25.3公分横26.0公分",[],{"id":47925,"slug":47926,"title":47927,"dynasty":18,"author":1699,"museum":206,"description":38940,"tags":47928,"thumbUrl":47930,"material":67,"size":19637,"collection":139,"collections":47931,"showCount":716,"zanCount":2209,"manualWeight":48,"mainColor":49},221552,"luo-han-tu-4-liu-song-nian-221552","罗汉图4",[7,23,27,28,243,106,34,298,84,20501,47929,263,436,228],"几案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b8170b586633a643595048667f2ac3.jpg",[],{"id":47933,"slug":47934,"title":47935,"dynasty":99,"author":2494,"museum":7087,"description":47936,"tags":47937,"thumbUrl":47938,"material":81,"size":7091,"collection":139,"collections":47939,"showCount":716,"zanCount":48,"manualWeight":48,"mainColor":139},220752,"fang-ge-jia-shan-shui-4-dong-qi-chang-220752","仿各家山水-4","此作用笔松秀空灵，以干笔淡墨铺展秋山幽居之境。近坡枯木疏林姿态萧散，村居隐于林木间，坡岸错落尽显野逸之趣。中远景山峦层叠，主峰奇崛高耸，以淡墨皴擦轻勾山石肌理，留白晕出水色烟岚的空濛悠远。\n\n全画以书入画，线条温润秀雅，不执着实景摹写，重在以笔墨传递清旷简远之意，寥寥数笔便将深秋林泉的幽寂淡远铺陈开来。以简驭繁，虚实相生间尽显文人画尚意重韵的特质，观之如临静谧山林，涤荡尘心。",[7,23,24,173,105,177,81,29,866,229,109,176,34,1265,3710,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a359e05e61b220785e0e20211602f.jpg",[],{"id":47941,"slug":47942,"title":47943,"dynasty":99,"author":2494,"museum":7087,"description":47944,"tags":47945,"thumbUrl":47946,"material":81,"size":7091,"collection":139,"collections":4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[1] 。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[7,86,24,2570,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d1fbb26be088463c567973dc4d31e5.jpg",[328],{"id":48513,"slug":48514,"title":48515,"dynasty":189,"author":20059,"museum":20,"description":48516,"tags":48517,"thumbUrl":48518,"material":178,"size":48519,"collection":328,"collections":48520,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},239663,"ti-hua-shi-tie-ye-zhang-yu-239663","题画诗帖页","释文：\n清才绝似王摩诘，爱向高堂写雪山。华盖洞中如屋里，赤栏桥外是人间。琼楼只许飞仙住，珠树应留织女攀。莫信寒泉伤玉趾，最宜清暑听潺湲。怪底朝寒云气浓，卷帘金翠出芙蓉。似倾三峡龙门雪，为洗明星玉女峰。玄豹藏来深雾雨，绿阴缺处小房栊。拟求许郭仙人宅，知隔琼华第几重。\n右题张彦辅画《雪山楼观》、《云林隐居》二图。雨。\n又书小字:\n四月廿六日晚，雨试笔，天镜、拙庵此时偃卧清凉室中，小龙了在天年袖中矣。\n钤“张雨私印”、“句曲外史张天雨印”。\n卷后有郑元祐题诗，罗天池题名，南郭翁书法。其中南郭翁书法一段与《题画诗帖》没有必然联系。卷前沈曾植隶书引首“诗留画味”。明周天球题诗及画像皆伪。\n文中“张彦辅”为元至正时人，号六一道士，居北京，善画山水。\n卷后郑元祐诗题中有“可怜斯人头已白”句，可知是张雨晚年的作品。《题画诗帖》书法清劲流利，舒放而又雍容，多具变化，又颇有些峻厉狂怪。张雨早年书法受赵孟頫影响，后得《茅山碑》，其书遂变，故此题字画清遒，染有唐人风格。张雨此件有双胞作品，美国大都会藏有另一本，无跋。两者比较，故宫为摹本，大都会为书写本，应是真迹。",[7,4472,86,178,173,27,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd04fe9c729e96af896681562a76f4.jpg","纵29.3厘米，横148.5厘米",[328],{"id":48522,"slug":48523,"title":48524,"dynasty":18,"author":278,"museum":311,"description":48525,"tags":48526,"thumbUrl":48527,"material":139,"size":139,"collection":139,"collections":48528,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},239660,"mi-fei-bai-zhong-yue-ming-shi-tie-juan-yi-ming-239660","米芾拜中岳命诗帖卷","此作用笔纵宕爽利，欹侧奇崛又不失沉稳，笔锋提按转合间牵丝映带，尽显随性潇洒的意趣。行书线条粗细变化自然，墨色润燥相生，将刷书的独特风神淋漓展现。\n\n诗文心境旷远静穆，和书法的逸气相融，笔墨间漫出脱尘的雅韵。整卷鉴藏朱印累累，与墨色相互映衬，晕开时光沉淀的厚重质感，尽显这件法书名迹的不凡价值与绝代风华。",[7,86,178,25,263,622,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f476a5fc1f672ebcd26a550f6bf3c.jpg",[],{"id":48530,"slug":48531,"title":48532,"dynasty":189,"author":36140,"museum":20,"description":48533,"tags":48534,"thumbUrl":48535,"material":139,"size":139,"collection":328,"collections":48536,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},239574,"meng-mei-hua-chu-shi-bing-xu-juan-yang-wei-zhen-239574","梦梅花处诗并序卷","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[7,209,23,24,25,178,2570,86,263,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dba1c2281f0ebb989c9b515e65ee06d.jpg",[328],{"id":48538,"slug":48539,"title":48540,"dynasty":189,"author":645,"museum":20,"description":48541,"tags":48542,"thumbUrl":48543,"material":48544,"size":48545,"collection":328,"collections":48546,"showCount":413,"zanCount":2209,"manualWeight":48,"mainColor":49},239561,"shu-jue-jiao-shu-juan-zhao-meng-fu-239561","书绝交书卷","此帖为赵孟頫六十六岁时抄录的魏晋时期名士嵇康名篇。行笔秾纤多古意，楷、行、草、章草间杂，浑然一体，而转折略带方硬，颇显苍老古拙韵味，是赵氏晚年佳作。其与赵书常见的气度雍容有异，颇显纵放跌宕，或是《绝交书》内容本身的愤激不平感染了书者的情绪所致。",[7,86,24,25,178,173,2547,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a757e16d27ab70bbe8d419733997948.jpg","行草书，绢本","纵21.8厘米，横254.7厘米",[328],{"id":48548,"slug":48549,"title":32945,"dynasty":99,"author":48550,"museum":311,"description":48551,"tags":48552,"thumbUrl":48553,"material":139,"size":139,"collection":139,"collections":48554,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},235679,"shan-shui-juan-chen-xun-235679","陈询","淡墨晕开清寂底色，绘就郊野幽居之景。茅庐错落隐于林木间，屋中对坐似有清谈，篱扉板桥、寒林浅水环合铺展闲逸天地。用笔松秀简淡，枯笔勾勒林木枝桠，湿墨晕染坡岸水汽，淡赭轻敷晕出冬春之交的萧疏温软。取景平远，以留白衬出水意空濛，将林下幽居、诗友酬唱的雅寂日常融于山水，淡远清和，尽显文人画以景抒怀的意趣，晕开不沾尘俗的隐逸襟怀。",[7,209,23,24,25,173,177,29,175,108,109,34,770,106,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931146f0a33287e31b9de1c97b00a55.jpg",[],{"id":48556,"slug":48557,"title":48558,"dynasty":76,"author":48559,"museum":20,"description":48560,"tags":48561,"thumbUrl":48562,"material":841,"size":48563,"collection":139,"collections":48564,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[7,23,25,173,28,244,263,106,6005,109,34,3899,266,867,29,118,5243,30995,10766,1322,1542,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":48566,"slug":48567,"title":32945,"dynasty":99,"author":10906,"museum":20,"description":48568,"tags":48569,"thumbUrl":48570,"material":1271,"size":139,"collection":139,"collections":48571,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},234242,"shan-shui-juan-sun-zhi-234242","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[7,23,24,25,173,27,177,86,178,29,557,31,111,34,35,1365,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":48573,"slug":48574,"title":48575,"dynasty":18,"author":323,"museum":132,"description":48576,"tags":48577,"thumbUrl":48578,"material":699,"size":48579,"collection":139,"collections":48580,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},232814,"di-zhu-ming-quan-juan-huang-ting-jian-232814","砥柱铭全卷","黄庭坚《砥柱铭》，行书。此卷长八米，抄录唐代魏征《砥柱铭》，全文六百多字。黄庭坚大字行书凝练有力，结构独特，是北宋书坛杰出的代表，与苏轼、米芾、蔡襄并称“宋四家”。\n天津美术学院美术史系教授刘金库指出，《砥柱铭》在宋代时为王厚之、南宋权相贾似道收藏，是贾似道收藏的“黄庭坚双璧”之一；入明则为著名收藏家项元汴所藏，在明代鉴赏家张丑的《真迹日录》中著录，明天顺年间归黄庭坚十一世族孙黄洵（字公直）所藏；入清则为项源、伍元蕙、罗天池等有名藏家所藏，后从广东流入日本，为日本有邻馆收藏，此后被一个台湾收藏家购得，最终，在时隔915年之后，现身于北京。并于2010年6月3日被拍出了中国艺术品成交记录——3.9亿元，加上12%的佣金，总成交价4.368亿元。",[7,86,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beded5450133e161e889393e118a59d.jpg","此卷长八米",[],{"id":48582,"slug":48583,"title":48584,"dynasty":189,"author":278,"museum":101,"description":48585,"tags":48586,"thumbUrl":48587,"material":67,"size":48588,"collection":139,"collections":48589,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},232803,"xiang-ma-tu-juan-shui-jing-gong-dao-ren-fang-han-gan-yi-ming-232803","相马图卷(水精宫道人仿韩干)","明人王世贞曾说：“文人画起自东坡，至松雪敞开大门。”这句话基本上客观地道出了赵孟頫在中国绘画史上的地位。无论是研究中国绘画史，还是研究中国文人画史，赵孟頫都是一个不可绕开的关键人物。如果说，唐宋绘画的意趣在于以文学化造境，而元以后的绘画意趣更多地体现在书法化的写意上，那么，赵孟頫在其间起到了桥梁作用。如果说，元以前的文人画运动主要表现为舆论上的准备，元以后的文人画运动以其成功的实践逐步取代正规画而演为画坛的主流，那末，引发这种变化的巨擘仍是赵孟頫。",[7,23,24,25,27,105,106,150,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1e492db706ac5af78cddf44ad061db.jpg","30.5x102.9厘米",[],{"id":48591,"slug":48592,"title":48593,"dynasty":99,"author":26038,"museum":132,"description":48594,"tags":48595,"thumbUrl":48596,"material":699,"size":48597,"collection":139,"collections":48598,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},231945,"gu-mu-you-ju-tu-sheng-mao-ye-231945","古木幽居图","盛茂烨的画作题材除了少量的人物及花鸟外，以山水为主，“大幅山水，浑厚而有气势，多得范宽之法，小幅作品，清新活泼，自成一种情趣。”盛氏活跃于仿古之风弥漫的时代，其对古人虽有用心之处，然而却极少仿古之作。\n根据种种的文献记载，盛氏在当时颇负盛名，虽古意不足，然饶有趣味，在笔墨造型和布局方面均有所开拓，形成了自身独特的画风。这种风格的形成，不仅在于他对浙派和吴派兼收并蓄，更在于他对古人的画法进行了选择性的采纳和吸收。\n他的作品中，有对大自然的真实描写，也有一些夸张变形的因素，这些均是宋代山水画传统在晚明画坛中复兴的征象。",[7,209,23,24,225,1218,177,27,5174,176,557,37,4969,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb575d9feb5a80e4189ee444b2fb5180a.jpg","157.5×54cm",[],{"id":48600,"slug":48601,"title":48602,"dynasty":277,"author":278,"museum":311,"description":47334,"tags":48603,"thumbUrl":48606,"material":2164,"size":2165,"collection":139,"collections":48607,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},231680,"fu-shi-hui-ping-feng-yi-ming-231680","浮世绘屏风",[7,13178,299,27,28,106,107,4140,29,2186,48604,48605,114,2508],"战场","士兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b8fbc85ceb5ed9e8c405e27e3e9b00.jpg",[],{"id":48609,"slug":48610,"title":37782,"dynasty":277,"author":278,"museum":311,"description":48611,"tags":48612,"thumbUrl":48617,"material":2164,"size":2165,"collection":139,"collections":48618,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":629},231658,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231658","此作以沉凝古雅的色调，绘就护法神祇的威严气魄。黝黑面庞怒目圆睁，宝冠束发更添悍勇，周身火焰背光翻卷烈烈，烘衬出慑人气场。神将身披纹饰繁细的重甲，璎珞革带错落有致，右手长剑拄握，左手结印，甲叶錾刻精巧，衣摆飘带虬曲灵动。\n\n画师以劲挺线条勾勒轮廓，矿物颜料的沉郁色泽带着岁月晕染的斑驳旧痕，将护法狞厉刚猛的威仪尽数铺展，糅合佛画肃穆与武将雄健张力，古拙笔触间尽显东方宗教造像的力量之美。",[7,23,24,225,243,27,106,48613,28,7385,48614,37786,48615,2220,48616],"室町时代风格","盔甲","宝相装饰","持物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe736348acdeaa504546c19869610b3fb.jpg",[],{"id":48620,"slug":48621,"title":9070,"dynasty":189,"author":6413,"museum":311,"description":48622,"tags":48623,"thumbUrl":48624,"material":699,"size":48625,"collection":139,"collections":48626,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},231593,"yun-shan-tu-gao-ke-gong-231593","在元六家中，高克恭虽不算家喻户晓，但许多人认为其作品无论是用墨还是笔法，都体现着元代绘画极高的艺术水准。虽带有异域血统，但他却凭借自己对汉文化的刻苦钻研，成为一代大师。\n高克恭是色目人，色目是当时对少数民族的统称，他与父辈在元朝时迁居至燕京。相传他生于哈萨克斯坦，异域血统让他连长相都有些与众不同。好友朱德润评价其为“高侯回纥长髯客，唾洒冰纨作秋色”。从后世流传的画像中，我们也能看到他卷发虬须、五官深邃，带有几分外国人的模样。\n作为古代少有的几位少数民族书画大师之一，高克恭在山水画方面造诣极高，包括董其昌、张大千在内的艺术家纷纷模仿其画作。其创作的《仿米氏山水手卷》以299万人民币的价格在2012年的北京春拍中成交，创下其个人作品最高成交纪录。\n“国朝名笔谁第一，尚书醉后妙无敌。”是人们评价高克恭的溢美之词。能被冠以如此高的评价不仅仅是因他对后世书画创作的影响，其在为人处世方面的成就让他在世人心中的形象进一步升华。\n高克恭从小就在父亲的引导下发奋学习，潜心研究各家经典。对他而言，书画创作从不是独取一家所长，而是在融会贯通中诞生出全新内涵。\n他初学米芾、米友仁的画风，后又吸收了董源、巨然作品中的用笔，将“点”的运用发挥到了极致。但在创作一段时间后，他发现这种画风只是一味地模仿前人，并不能真正地表达自己心目中的山水形象。\n在多次钻研且不断尝试后，高克恭发现画家李成笔下的山水是有“骨架”的。他选择引线入点，将三位大师的创作融合起来。这种表现手法既能凸显出江南云山烟树的朦胧缥缈，又能不失山川的挺峻硬朗之感。\n对当时的大多数书画家来说，米芾、董源、巨然等人是可望不可及的书画名家。人们争相学习，将其绘画手法奉为圭臬，又有几个人能提出反对意见？像高克恭这样，在发现问题后并加以改进的画家更是少之又少。有时，大师只比我们多了一份质疑。\n除了融合多家技法特点，高克恭的画作中还有几分西方画法的韵味。他的创作绝不仅仅是单凭印象，而是在仔细观察后动笔。在写实方面，西方画作凭借色彩变化、光影明暗表现画面，而中国山水画则靠用墨浓淡展现层次。\n高克恭便是山水画用墨的佼佼者。其开创“积点法”，以墨色渲染层次，表现山水意境。近代画家黄宾虹的积墨山水就是在此基础上发展而成。",[7,209,23,24,173,29,177,734,2279,384,35,282,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":48628,"slug":48629,"title":6440,"dynasty":76,"author":5199,"museum":311,"description":48630,"tags":48631,"thumbUrl":48632,"material":699,"size":48633,"collection":139,"collections":48634,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},231546,"xun-mei-tu-wang-shi-shen-231546","汪士慎（1686-约1762），清代书画家、篆刻家。字近人，号巢林、溪东外史、左盲生、天都寄客，安徽歙县人，一作安徽休宁人，流寓江苏扬州。精篆刻、隶书，擅画花卉，尤擅画梅，笔墨疏落清劲，气清而神腴，墨淡而趣足，具有秀润恬静之致，与李方膺“铁干铜皮”形成鲜明对比。与金农、华品山等友善，为扬州八怪之一。\n汪士慎极爱梅花，擅长画梅竹，工于篆刻与八分书。人们评论他的梅竹说：“宠梅念竹有真意，剪水断冰无俗痕。”汪士慎跟金农、高翔、罗聘，被时人称为四大画梅高手。\n这幅《梅花》清淡秀雅，瘦劲姿媚，让我们看到了他画梅花的独特风格。汪士慎留世的梅花作品，其枝、花并不太繁，而以疏朗清瘦见长，给人一种疏影潇洒、冷香四溢的感觉。",[7,23,24,225,173,86,178,263,402,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebaace359b8eb216fa28c0c02b7b725.jpg","63x160厘米",[],{"id":48636,"slug":48637,"title":48638,"dynasty":76,"author":17548,"museum":311,"description":48639,"tags":48640,"thumbUrl":48642,"material":139,"size":139,"collection":139,"collections":48643,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},231365,"xue-ji-tu-fan-qi-231365","雪霁图","樊圻（公元1616—1694尚在），字会公，更字洽公，江宁（今江苏南京人）。清代画家，\n江苏南京人，他与其兄樊沂均以画出名。与龚贤、高岑、吴宏、叶欣、胡慥、谢荪、邹喆等人并称为“金陵八家”。山水师赵令穰，刘松年、赵孟孚等而能自成风貌，王铎尝题其小景云：“洽公吾不知为谁，此幅全摹赵松雪、赵大年，穆然恬静，若厚德醇儒，敦庞湛凝，无忒无（兆） 。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[7,209,23,24,27,28,1775,403,226,370,48641,176,83,263],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":48645,"slug":48646,"title":48647,"dynasty":18,"author":278,"museum":206,"description":48648,"tags":48649,"thumbUrl":48650,"material":123,"size":139,"collection":139,"collections":48651,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[7,209,23,24,225,28,27,104,106,107,1365,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":48653,"slug":48654,"title":48655,"dynasty":18,"author":48656,"museum":311,"description":48657,"tags":48658,"thumbUrl":48659,"material":2164,"size":2165,"collection":139,"collections":48660,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},230898,"zi-shu-shi-cai-xiang-230898","自书诗","蔡襄","蔡襄（1012年3月7日－1067年9月27日），字君谟。兴化军仙游县唐安乡连江里青泽亭境蔡坑（今福建省仙游县枫亭镇九社村蔡坑自然村）人。北宋名臣，书法家、文学家、茶学家。\n宋仁宗天圣八年（1030年），蔡襄登进士第，先后任馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士等职，在朝为谏官时，以直言著称。后数度外出，历知泉州、福州、开封府事。宋英宗即位后正授三司使，再以端明殿学士出知杭州。治平四年（1067年），蔡襄逝世。累赠少师，谥号“忠惠”。\n蔡襄为官正直，所到之处皆有政绩。在福州时，去民间蛊害；在泉州时，与卢锡共同主持建造洛阳桥；在建州时，倡植福州至漳州七百里驿道松，主持制作北苑贡茶“小龙团”。所著《茶录》总结了古代制茶、品茶的经验；《荔枝谱》则被称赞为“世界上第一部果树分类学著作”。蔡襄的诗文清妙，书法浑厚端庄，淳淡婉美，自成一体，为“宋四家”之一。有《蔡忠惠集》等传世。",[7,86,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e90b7b0597277a3f428e13c7a06decb.jpg",[],{"id":48662,"slug":48663,"title":48664,"dynasty":277,"author":48665,"museum":311,"description":48666,"tags":48667,"thumbUrl":48668,"material":2164,"size":2165,"collection":139,"collections":48669,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},230579,"ming-qing-fang-gu-fen-ben-ren-wu-hua-niao-juan-2-tu-zuo-bing-guang-lin-feng-230579","明清仿古粉本人物花鸟卷2","土佐并光琳风","此作以水墨写意绘就两帧人物，韵致截然不同。右侧观音以淡墨晕出圆光，衣袂线条清柔舒缓，持经垂眸，神态静穆慈悲，尽显禅意空灵。左侧文士以泼墨挥写袍服，笔力纵逸老辣，持笔展卷，面容诙谐灵动，文人气韵盎然。\n\n画师以浓淡墨色区分物象虚实，将静穆禅意与疏放文气并置，于极简笔墨中形神兼备，尽显东方水墨写意的精妙意趣，让两种气质在卷中相映成趣。",[7,23,24,25,173,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0d007e14851b9c8995e4bc5444b5db.jpg",[],{"id":48671,"slug":48672,"title":48673,"dynasty":76,"author":278,"museum":311,"description":48674,"tags":48675,"thumbUrl":48676,"material":2164,"size":2165,"collection":139,"collections":48677,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},230345,"xi-xiang-ji-yi-ming-230345","西厢记","画中截取缱绻一幕，青衣公子悠然倚坐，左侧仕女亲手递食，二人目光相接，暗传情愫。右侧侍女斜立，以袖掩唇，偷觑间流露少女的羞怯与好奇。\n\n室内陈设雅致考究，格架罗列清供雅玩，案头瓶花素静、茶点精致，将深闺私密的暧昧氛围晕染尽致。衣纹勾勒细腻妥帖，人物神态拿捏入微，把儿女间的缱绻情态描摹得鲜活动人，尽显传统工笔人物画的雅致意趣。",[7,23,24,27,28,106,59,228,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f6011a05083633edfbf7e4b35f5a88.jpg",[],{"id":48679,"slug":48680,"title":48681,"dynasty":76,"author":18846,"museum":311,"description":29608,"tags":48682,"thumbUrl":48683,"material":2164,"size":2165,"collection":139,"collections":48684,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},230261,"zhuan-shu-dui-lian-hong-yi-fa-shi-230261","篆书对联",[7,86,1163,7024,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3f0082cd2356172086231095f1cd39.jpg",[],{"id":48686,"slug":48687,"title":48688,"dynasty":99,"author":817,"museum":311,"description":48689,"tags":48690,"thumbUrl":48691,"material":139,"size":139,"collection":139,"collections":48692,"showCount":413,"zanCount":1337,"manualWeight":48,"mainColor":94},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[7,23,24,25,244,173,621,178,86,5152,263,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":48694,"slug":48695,"title":48696,"dynasty":99,"author":1014,"museum":311,"description":48697,"tags":48698,"thumbUrl":48701,"material":139,"size":139,"collection":139,"collections":48702,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[7,23,25,173,177,28,29,109,174,1542,106,266,34,175,867,3899,48699,48700,6005,39695,194],"岸芷","汀草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":48704,"slug":48705,"title":48706,"dynasty":99,"author":170,"museum":311,"description":48707,"tags":48708,"thumbUrl":48709,"material":139,"size":139,"collection":139,"collections":48710,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[7,23,24,25,173,29,108,109,174,175,266,34,86,178,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":48712,"slug":48713,"title":41622,"dynasty":99,"author":278,"museum":311,"description":48714,"tags":48715,"thumbUrl":48716,"material":139,"size":139,"collection":139,"collections":48717,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},228812,"he-tang-shuang-e-tu-yi-ming-228812","此作以淡墨轻色绘秋水一隅，枯荷欹斜舒展，芦叶随风摇曳，将深秋荷塘的清寂晕染开来。两只雏鹅姿态生动，一只引颈抬首似在窥望残荷，绒毛蓬松的质感以细笔丝出，朴拙灵动。水岸以浅赭晕染，衬出水天朦胧的空寂氛围。\n\n整体设色淡雅柔和，工写兼具，既以精微笔触刻画禽鸟花叶的形神，又以简淡晕染烘托萧疏冷隽的秋日意趣，将秋日荷塘的幽寂与生机相融，淡而有味，韵致悠长。",[7,23,1352,27,28,83,227,7725,3899,4208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb949ddd4193d20cfb32610246faade24.jpg",[],{"id":48719,"slug":48720,"title":6835,"dynasty":99,"author":100,"museum":311,"description":48721,"tags":48722,"thumbUrl":48723,"material":139,"size":139,"collection":139,"collections":48724,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[7,23,25,28,27,24,86,178,29,106,150,34,4140,108,119,16716],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":48726,"slug":48727,"title":48728,"dynasty":99,"author":16420,"museum":311,"description":16933,"tags":48729,"thumbUrl":48730,"material":2164,"size":2165,"collection":139,"collections":48731,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},228360,"xiao-xiang-guo-yu-tu-quan-juan-xia-chang-228360","潇湘过雨图全卷",[7,209,23,24,25,173,29,226,16935,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d64a4192e950156f996dee8003aabb4.jpg",[],{"id":48733,"slug":48734,"title":48735,"dynasty":99,"author":3908,"museum":1098,"description":48736,"tags":48737,"thumbUrl":48738,"material":139,"size":139,"collection":139,"collections":48739,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[7,23,24,25,27,29,86,178,177,34,31,557,10766,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":48741,"slug":48742,"title":48743,"dynasty":189,"author":2307,"museum":311,"description":48744,"tags":48745,"thumbUrl":48746,"material":139,"size":139,"collection":139,"collections":48747,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},228253,"ku-shu-tu-ye-cao-zhi-bai-228253","枯树图页","画面以古木为核心，老干虬曲扭结，皴擦简劲尽显树皮斑驳嶙峋，枯瘦枝桠如铁铸般舒展，倒挂的垂丝晕开幽寂清冷的氛围。侧旁杂木参差，枯荣相衬，更衬出主树孤高之姿。\n\n下方坡石以淡墨勾勒晕染，棱角浑朴古拙，托举着古木更见苍劲。构图疏朗空灵，以极简笔墨铺展出荒寒淡远的意境，尽显元代文人尚简重意的风骨。笔意苍劲松秀，枯中藏腴，淡而弥厚，将冬景萧瑟化作沉静的精神图景，淡墨轻岚间，寄寓着幽淡清寂的隐逸心绪，尽显疏旷出尘的文人意趣。",[7,23,24,4850,173,29,865,176,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa7ec689131e19f51954940a33d2460.jpg",[],{"id":48749,"slug":48750,"title":48751,"dynasty":189,"author":278,"museum":311,"description":48752,"tags":48753,"thumbUrl":48754,"material":139,"size":139,"collection":139,"collections":48755,"showCount":413,"zanCount":2209,"manualWeight":48,"mainColor":49},228191,"nong-cun-jia-nv-tu-juan-yi-ming-228191","农村嫁女图卷","《农村嫁女图》，原名《瘤女图》，是 佚名画家创作的一幅淡设色画。\n此图原名《瘤女图》，后更名为《农村嫁女图》。\n全卷绘大小人物7人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。\n首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。\n各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。\n从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。\n笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。\n人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。\n绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。\n本幅无作者款印。\n钤有清“卢崇兴印”及清内府鉴藏印 5方。\n清初康熙时此卷为卢崇兴所有，乾隆时入内府，清末宣统年间佚出宫外，后为故宫博物院购藏。\n著录于《石渠宝笈·初编》卷三十五。",[7,23,209,25,244,27,106,150,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a4c8a922243dc7230811a7a4b5333e.jpg",[],{"id":48757,"slug":48758,"title":48759,"dynasty":189,"author":645,"museum":311,"description":48760,"tags":48761,"thumbUrl":48762,"material":139,"size":139,"collection":139,"collections":48763,"showCount":413,"zanCount":2209,"manualWeight":48,"mainColor":49},228057,"fan-qi-tu-ye-zhao-meng-fu-228057","番骑图页","此画以淡赭素绢为底，将目光凝于草原行旅的片刻日常。两位骑手颇具游牧风情，红衣戴笠者控黑花马稳步前行，青衫跨坐者抬手牵住随行白马，神态松弛安然，衣褶线条清劲简练，寥寥数笔便勾勒出策马闲行的悠然情态。\n\n三匹马造型写实灵动，黑花马昂首健硕，白马温顺舒展，墨色晕染柔和雅致，以极简笔墨描摹出马匹肌理毛发，不见多余背景铺陈，却将塞外行旅的松弛鲜活定格绢素，尽显简淡萧散的鞍马画意趣，于朴拙雅致间藏着游牧日常的鲜活烟火。",[7,209,23,24,81,27,28,106,150,808,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191d62260f7f79f9b22aeb48e388305.jpg",[],{"id":48765,"slug":48766,"title":48767,"dynasty":18,"author":278,"museum":311,"description":48768,"tags":48769,"thumbUrl":48770,"material":139,"size":139,"collection":139,"collections":48771,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},227924,"jiao-shi-ying-xi-tu-yi-ming-227924","蕉石婴戏图","这幅小品以庭院一隅铺展童趣，玲珑湖石矗立，芭蕉舒展浓荫，晕染出夏日庭院的清幽意韵。十余稚童散落各处，或两两私语、或结伴嬉闹，有的摹仿大人行礼作态，有的蹲坐把玩小物，一举一动皆憨态可掬，将孩童日常嬉游的模样鲜活呈现。设色淡雅柔和，衣纹线条细劲流畅，画师以精妙笔力将幼童的天真烂漫刻画得淋漓尽致，藏着平淡日常里的融融稚趣，尽显工致雅致的宋画意韵，把烟火日常里的童真定格成隽永的画面。",[7,209,23,24,1352,27,28,106,806,229,108,9044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],{"id":48773,"slug":48774,"title":48775,"dynasty":18,"author":278,"museum":311,"description":48776,"tags":48777,"thumbUrl":48778,"material":139,"size":139,"collection":139,"collections":48779,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},227893,"yu-le-tu-ye-yi-ming-227893","渔乐图页","这幅小品以虚实相生铺展江渚闲情。右侧江岸苍松虬曲，墨色皴擦间晕染出枝叶蓊郁的清寂意韵，留白处烟霭漫过江天，晕开空濛淡远的朦胧诗意。\n\n水面扁舟轻漾，渔人围坐舟中，姿态松弛悠然，帐幔酒旗随江风微动，将寻常渔居琐事晕染出世外之味。简淡笔墨勾勒人物情态，寥寥数笔便写尽江湖渔隐的闲散日常，将俗世烟火揉入水墨淡彩间。\n\n整体雅致静穆，把宋人寄情林泉的隐逸襟怀藏进烟波里，尽显宋代小品画的诗意意境，将渔家寻常的片刻欢愉，铺陈为悠远淡和的江居雅卷。",[7,23,1352,173,27,29,174,29089,106,867,13620,177,263,1088],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943293d6916514a78dbafe73eefd7416.jpg",[],{"id":48781,"slug":48782,"title":48783,"dynasty":18,"author":278,"museum":311,"description":48784,"tags":48785,"thumbUrl":48786,"material":139,"size":139,"collection":139,"collections":48787,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[7,1352,23,24,27,177,29,106,1322,109,229,34,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],{"id":48789,"slug":48790,"title":11447,"dynasty":18,"author":278,"museum":311,"description":48791,"tags":48792,"thumbUrl":48795,"material":139,"size":139,"collection":139,"collections":48796,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},227858,"dai-du-tu-yi-ming-227858","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[7,209,23,17565,1352,27,173,29,106,107,109,174,1322,1265,29088,4969,229,48793,15091,3723,48794],"闲寂悠然","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":48798,"slug":48799,"title":43976,"dynasty":18,"author":1395,"museum":311,"description":43977,"tags":48800,"thumbUrl":48801,"material":139,"size":139,"collection":139,"collections":48802,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},227771,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227771",[7,209,23,24,25,105,177,173,29,174,1542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f76f964392cf441413ed6978a2135.jpg",[],{"id":48804,"slug":48805,"title":48806,"dynasty":18,"author":48807,"museum":311,"description":48808,"tags":48809,"thumbUrl":48810,"material":139,"size":139,"collection":139,"collections":48811,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},227615,"liu-yin-xiu-qi-tu-ye-yang-ri-yan-227615","柳荫休憩图页","杨日严","杨日严，字垂训，宋朝河南人。进士及第，曾任安丘知县，通判亳、陈二州。杨日严任益州转运使时，颇为蜀人所信爱，却在任内因贪污被欧阳修弹劾，从此与欧阳修结怨，并且设法攻击。后为开封府代理知府，有囚犯自杀因被罢官。后判太常、司农寺，同知审官院，卒于官。",[7,209,23,24,81,27,28,106,1322,266,29,229,6557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24620bc6c89ce952d0373ed3f8835188.jpg",[],{"id":48813,"slug":48814,"title":48815,"dynasty":18,"author":48816,"museum":311,"description":48817,"tags":48818,"thumbUrl":48819,"material":139,"size":139,"collection":139,"collections":48820,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","赵光辅","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[7,209,23,24,25,243,27,28,106,263,86,63,621,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":48822,"slug":48823,"title":48824,"dynasty":18,"author":14811,"museum":311,"description":48825,"tags":48826,"thumbUrl":48827,"material":139,"size":139,"collection":139,"collections":48828,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[7,209,23,24,25,27,29,177,106,150,1365,557,37,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":48830,"slug":48831,"title":48832,"dynasty":76,"author":963,"museum":311,"description":48833,"tags":48834,"thumbUrl":48835,"material":139,"size":139,"collection":139,"collections":48836,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[7,23,24,81,173,27,177,29,174,109,35,34,867,176,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":48838,"slug":48839,"title":48840,"dynasty":76,"author":16577,"museum":311,"description":48841,"tags":48842,"thumbUrl":48843,"material":139,"size":139,"collection":139,"collections":48844,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[7,23,24,225,173,177,29,108,109,34,35,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fe265c9fc33d18c0b8c97edc2c07bd.jpg",[],{"id":48846,"slug":48847,"title":48848,"dynasty":76,"author":7940,"museum":206,"description":48849,"tags":48850,"thumbUrl":48851,"material":712,"size":139,"collection":139,"collections":48852,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":255},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[7,23,24,1218,27,177,263,86,178,29,34,2137,107,466,468,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":48854,"slug":48855,"title":29187,"dynasty":76,"author":7940,"museum":311,"description":48856,"tags":48857,"thumbUrl":48858,"material":139,"size":139,"collection":139,"collections":48859,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},224440,"xian-shan-lou-guan-tu-wang-hui-224440","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[7,23,24,225,29,107,1423,866,109,176,177,27,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":48861,"slug":48862,"title":1462,"dynasty":76,"author":48863,"museum":311,"description":48864,"tags":48865,"thumbUrl":48866,"material":5090,"size":139,"collection":45,"collections":48867,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},224381,"shan-shui-tu-wang-guang-qi-224381","王光圻","此作用高远章法铺陈，以枯淡墨线勾出峭拔崖壁，焦墨点苔醒出山峦苍劲肌理，留白衬出险峰空寂高远的气势，壁立千仞的意境呼之欲出。\n\n近景林木错落，老松虬曲、杂木扶疏，以浓淡墨色区分枝叶层次，衬出林麓间茅舍的幽隐。清溪绕岸，浅墨晕染出水泽空濛之气。全幅笔法简率松灵，脱略繁缛细节，以意写形，尽显文人山水的萧散淡远之致，墨色干湿浓淡相济，于极简中勾勒出山林幽深清寂之境，笔底自带荒寒简古的林下风致，尽显文人写意山水的雅致风貌。",[7,23,173,225,29,34,175,176,35,4272,1365,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7c446c0bf8824d74b46dced3c2cfe1.jpg",[45],{"id":48869,"slug":48870,"title":48871,"dynasty":76,"author":1929,"museum":311,"description":48872,"tags":48873,"thumbUrl":48875,"material":139,"size":139,"collection":139,"collections":48876,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},224293,"gu-bai-ling-xiao-tu-li-shan-224293","古柏凌霄图","画面中古柏躯干虬曲苍劲，枯笔皴擦尽显饱经风霜的古拙质感。凌霄柔蔓盘绕其上，丹色花朵娇妍明媚，刚柔相映，勾勒出盎然生机。下方湖石奇崛嶙峋，侧锋挥写出嶙峋肌理，石畔幽兰素花轻绽，添了几分清雅柔润。\n笔墨刚柔并济，古木的坚拙与花草的灵秀相融，再辅以题诗错落排布，诗画相映，将文人的清雅意趣寄寓其间，尽显写意花鸟的灵动神韵，生机古意交织成雅致盎然的庭间景致。",[7,23,24,225,27,400,177,178,263,83,866,229,48874],"凌霄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330a94e92eb6ad613697bf518f9e4fc9.jpg",[],{"id":48878,"slug":48879,"title":48880,"dynasty":76,"author":48881,"museum":48882,"description":48883,"tags":48884,"thumbUrl":48886,"material":139,"size":48887,"collection":2097,"collections":48888,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},224146,"yu-qu-yuan-zhi-zheng-wen-chao-xin-zha-yu-yue-224146","俞曲园致郑文焯信札","俞樾","美国华盛顿国立美术馆","俞樾（1821年12月25日—1907年2月5日），字荫甫，自号曲园居士，浙江省德清县城关乡南埭村人。清末著名学者、文学家、经学家、古文字学家、书法家。现代诗人俞平伯的曾祖父，章太炎、吴昌硕、日本井上陈政皆出其门下。清道光三十年（1850年）进士，曾任翰林院编修。\n俞樾后受咸丰皇帝赏识，放任河南学政，被御史曹登庸劾奏“试题割裂经义”，因而罢官。遂移居苏州，潜心学术达40余载。治学以经学为主，旁及诸子学、史学、训诂学，乃至戏曲、诗词、小说、书法等，可谓博大精深。海内及日本、朝鲜等国向他求学者甚众，尊之为朴学大师。所著凡五百余卷，称《春在堂全书》。除《群经平议》五十卷、《诸子平议》五十卷、《茶香室经说》十六卷、《古书疑义举例》七卷外，其《第一楼丛书》三十卷、《曲园俞楼杂纂》共百卷。《清史稿》有传。\n俞樾是晚清有影响的学者。他长于经学和诗词、小说、戏曲的研究，所作笔记搜罗甚广，包含有中国学术史和文学史的珍贵资料。善诗词，工隶书，学识渊博，对群经诸子、语文训诂、小说笔记，撰著颇丰，一生著述不倦，主要著述有《小浮梅闲话》《右台仙馆笔记》《茶香室杂钞》等，辑为《春在堂全书》，凡500卷。\n在通俗小说方面的重要贡献是修改《三侠五义》，使这部小说得以广泛流传。赵景深在1956年1月所作的《三侠五义》前言中说：《三侠五义》原名《忠烈侠义传》，出现于光绪五年（1879）。1889年俞樾初见此书，认为第一回狸猫换太子“殊涉不经”，便参考《宋史》和《默记》等加以删改；他还认为书中所叙不只三侠，“南侠、北侠、丁氏双侠、小侠艾虎，则已得五侠矣。而黑妖狐智化者，小侠之师也；小诸葛沈仲元者，第一百回中盛称其从游戏中生出侠义来。然则此两人非侠而何？即将柳青、陆彬、鲁英等人概置不数，而已得七侠矣。”就改名为《七侠五义》，与《三侠五义》并行流传。这里反映了俞樾关于小说的学术观，可供历史小说创作的参考。\n他对小说的艺术研究也很精湛，赵景深又说，俞樾对于这书的评话特性也有极 好的比喻：“事迹新奇，笔意酣恣，描写既细入毫芒，点染又曲中筋节。正如柳麻子说《武松打店》，初到店内无人，蓦地一吼，店中空缸空甏皆瓮瓮有声；闲中着色，精神百倍。如此笔墨，方许作评话小说；如此评话小说，方算得天地间另一种笔墨。”如果有人写一部《中国俗小说史》，不可不能提到俞樾。",[7,86,178,48885,263,699,315],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc4e7907f81b8c51ce121fce1b550ae.jpg","30x135",[2097],{"id":48890,"slug":48891,"title":48892,"dynasty":76,"author":7373,"museum":311,"description":48893,"tags":48894,"thumbUrl":48895,"material":139,"size":139,"collection":139,"collections":48896,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},224125,"shi-lu-li-lu-ting-tu-zhou-qian-long-224125","诗鹭立芦汀图轴","清乾隆缂丝乾隆御制诗鹭立芦汀图轴是清乾隆时期的图轴。\n米色地上缂织芦花白鹭，右上方以黑线缂织高宗隶书御制诗一首： 采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[7,209,23,24,225,28,27,4207,3899,48029,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":48898,"slug":48899,"title":48900,"dynasty":99,"author":278,"museum":101,"description":48901,"tags":48902,"thumbUrl":48903,"material":67,"size":48904,"collection":139,"collections":48905,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},223576,"quan-xi-tu-yi-ming-223576","犬戏图","三只白底黑点的大狗趴在地上，仿佛看着它们的皮肤吐着皮毛，而其中的两只正在锻炼和玩耍，三只胖嘟嘟的傻傻的表情非常可爱。",[7,23,24,27,28,808,9308,1365,283,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661ed9dda15d3f39a9490584687bc98a.jpg","36X35cm",[],{"id":48907,"slug":48908,"title":48909,"dynasty":76,"author":278,"museum":48910,"description":48911,"tags":48912,"thumbUrl":48922,"material":699,"size":48923,"collection":139,"collections":48924,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},223502,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-223502","杭城西湖江干湖墅图","英国大英图书馆","全图以传统绘画揉合地图绘制的技巧表现，将杭州城与西湖及城北附郭仁和县、城南附郭钱塘县一带山形水势尽收于图中。全图不附图例、比例及方位，但明显采西上、东下的分布。图中各处标示地名，杭州城内官署、坊巷、水道桥梁均详细注记；杭城外西湖及周围山岭、寺庙及景点也都非常细腻描绘，钱塘江水面在图右，以图面空白的方式表现，仅注记「闸口至北新关三十里」、「闸口至六和塔五里」等两处文字。",[7,23,209,24,27,29,48913,48914,48915,48916,48917,31574,9908,48918,48919,36,48920,48921,108,107],"城市图","古地图","杭州城","西湖","钱塘江","官署","坊巷","水道","景点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffc448fcbdc2f72bda091d949ae7205.jpg","125×67.5cm",[],{"id":48926,"slug":48927,"title":48928,"dynasty":18,"author":278,"museum":206,"description":48929,"tags":48930,"thumbUrl":48931,"material":712,"size":48932,"collection":139,"collections":48933,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},223452,"xiao-han-lin-tu-zhou-yi-ming-223452","小寒林图轴","该幅两树石意似未尽，应是残存长卷的一段。平野上林木凋零，天色惨淡欲雪，小径上两翁且行且谈，一童挑担尾随。树枝用笔圆劲，直如篆籀，垂藤生动，势若惊蛇。全幅用笔细谨，墨法精绝，为宋无名款画中之杰出者。 此画绘北方清旷萧森之景，这种寒林平野的主题是由北宋李成所创，但图中坡石皴染和树木枝桠的布置已有郭熙的影响，人物画法精练传神，是北宋风格。因此此图就算不出于郭熙，也是时代相去不远之作。右侧飞雁一行，笔调单薄，与全图气韵不合，可能是后人所补。",[7,23,24,225,173,177,29,866,1423,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29861984f9f280d64ed489a7687eeb8e.jpg","该幅42.2x49.2公分全幅66.5公分",[],{"id":48935,"slug":48936,"title":48937,"dynasty":189,"author":278,"museum":9826,"description":48938,"tags":48939,"thumbUrl":48940,"material":40,"size":139,"collection":139,"collections":48941,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},223393,"cheng-ma-tu-yi-ming-223393","呈马图","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[7,23,209,25,27,28,106,150,263,86,1163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":48943,"slug":48944,"title":12305,"dynasty":189,"author":278,"museum":311,"description":48945,"tags":48946,"thumbUrl":48947,"material":527,"size":48948,"collection":139,"collections":48949,"showCount":413,"zanCount":2209,"manualWeight":48,"mainColor":49},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","是图以高远法出之,山峦清旷,落英缤纷。近景陂陀杂树,渔舟归樵;中景夹谷深壑,流水湍湍,桥舍掩映;远景山峰耸峻,苍翠欲滴,烟岚奕奕。正是暮霞景明、秋意正浓之时,令人有如入武陵桃源忘返向路之感。在画法上,是图以长披麻皴为主,笔致清晰中见浑融,用笔枯而不涩,意境蓊秀萧疏。点苔疏密有致,很好地表现了草木华滋的气象。设色借鉴了黄公望浅绛法,明洁滋润,妍而不甜。此种画风,明显受到了其挚友王鉴的影响。然而,在萧疏简远的气息追求上,比之王鉴是有过之而无不及的。",[7,23,1218,27,177,176,34,108,109,175,1871,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","170x85.26cm",[],{"id":48951,"slug":48952,"title":8403,"dynasty":76,"author":12204,"museum":206,"description":48953,"tags":48954,"thumbUrl":48956,"material":27,"size":48957,"collection":139,"collections":48958,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 轸。",[7,315,28,27,244,178,263,105,106,150,808,243,2159,86,28113,48955,1519],"神形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":48960,"slug":48961,"title":48962,"dynasty":76,"author":48559,"museum":311,"description":48963,"tags":48964,"thumbUrl":48965,"material":573,"size":48966,"collection":181,"collections":48967,"showCount":413,"zanCount":2209,"manualWeight":48,"mainColor":94},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[7,209,23,24,27,104,263,29,107,1253,108,109,34,176,10496,2221,119,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[181,45],{"id":48969,"slug":48970,"title":48971,"dynasty":76,"author":5492,"museum":311,"description":23934,"tags":48972,"thumbUrl":48973,"material":139,"size":139,"collection":181,"collections":48974,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},223248,"shan-shui-1-pu-hua-223248","山水1",[7,23,24,225,173,27,177,29,734,384,1365,558,37,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[181,163],{"id":48976,"slug":48977,"title":48978,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":48979,"thumbUrl":48980,"material":67,"size":2225,"collection":139,"collections":48981,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},223048,"hong-lou-meng-173-sun-wen-223048","红楼梦173",[7,28,27,104,106,107,115,34,298,176,30156,299,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24ebf169298a599f6c858be834d3e46.jpg",[],{"id":48983,"slug":48984,"title":48985,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":48986,"thumbUrl":48987,"material":67,"size":2225,"collection":139,"collections":48988,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},223016,"hong-lou-meng-141-sun-wen-223016","红楼梦141",[7,23,27,28,104,29,106,107,264,1322,34,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84111c7cf762139844514a25f574e26.jpg",[],{"id":48990,"slug":48991,"title":48992,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":48993,"thumbUrl":48994,"material":67,"size":2225,"collection":139,"collections":48995,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},223006,"hong-lou-meng-131-sun-wen-223006","红楼梦131",[7,23,24,28,27,104,106,107,115,34,176,84,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66779d2b4c3b4247ab7fa10a43a0b2.jpg",[],{"id":48997,"slug":48998,"title":48999,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":49000,"thumbUrl":49002,"material":67,"size":2225,"collection":139,"collections":49003,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[7,23,28,27,26,25,25757,106,59,107,108,1028,806,1646,1087,109,104,49001],"珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],{"id":49005,"slug":49006,"title":49007,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":49008,"thumbUrl":49009,"material":67,"size":2225,"collection":139,"collections":49010,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[7,23,24,25,27,28,104,106,13000,109,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],{"id":49012,"slug":49013,"title":49014,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":49015,"thumbUrl":49018,"material":67,"size":2225,"collection":139,"collections":49019,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},222957,"hong-lou-meng-82-sun-wen-222957","红楼梦82",[7,28,27,49016,107,7061,298,36718,106,806,3790,30158,34,84,49017,436,28695,1646,14224],"古典庭院","石景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd19bbb13d2890a1bae246659c20ee.jpg",[],{"id":49021,"slug":49022,"title":49023,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":49024,"thumbUrl":49026,"material":67,"size":2225,"collection":139,"collections":49027,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},222943,"hong-lou-meng-68-sun-wen-222943","红楼梦68",[7,28,27,104,106,8782,5766,84,300,86,7024,49025,3157,13474,14603,3790],"书架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c32ce07b23c9a117289cfb2e75eaa4a.jpg",[],{"id":49029,"slug":49030,"title":28691,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":49031,"thumbUrl":49034,"material":67,"size":2225,"collection":139,"collections":49035,"showCount":413,"z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南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[7,209,23,24,104,27,28,29,107,285,1755,34,109,9533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc2083e3304ec61a774b10ba10ced57.jpg","纵57厘米，横66.1厘米",[],{"id":49318,"slug":49319,"title":49320,"dynasty":189,"author":9788,"museum":206,"description":49321,"tags":49322,"thumbUrl":49323,"material":123,"size":10625,"collection":139,"collections":49324,"showCount":413,"zanCount":2209,"manualWeight":48,"mainColor":49},219132,"hua-hui-ce-hu-er-cao-wang-yuan-219132","花卉册-虎耳草","叶片展如虎耳，脉络细若蚕丝，淡绿晕染出层次分明的肌理。细茎托着素白小花，轻盈似欲随风摇曳。枝间小虫匍匐，梢头轻羽掠过，静中藏动，仿佛能嗅到草叶的清冽气息。墨线勾勒简洁精准，设色温润内敛，赭色背景衬得草木愈发清新。以极简物象捕捉生机，无浓艳之姿，却有静谧雅致的韵致，尽显对自然细微之美的深情凝视与文人画的空灵意趣。每一处笔触都藏着对生命的珍视，将平凡草木绘成诗意的存在，于无声中传递出自然与心灵的共鸣。",[7,23,24,81,28,27,83,84,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ab3628f34bb94d9d39c9594686daf2.jpg",[],{"id":49326,"slug":49327,"title":14133,"dynasty":18,"author":278,"museum":447,"description":49328,"tags":49329,"thumbUrl":49330,"material":67,"size":139,"collection":44,"collections":49331,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":49},219056,"mu-tong-tu-yi-ming-219056","苍润绢本晕开宋时的清寂。老松如盖，虬枝盘结，墨色沉郁间藏着笔底苍劲；坡地之上，牧童斜倚牛背，似梦似醒，牛儿低首啃青，憨态可掬。寥寥数笔，便将乡野的自在勾勒得淋漓尽致。远处云气轻笼，山峦隐现，留白处尽是悠远意韵。没有繁复铺陈，极简构图里，田园的静谧与生命的松弛揉进每寸笔墨。风过松梢的轻响，牧童鼻息的绵长，仿佛都藏在这墨色深浅间——宋画的烟火与诗意，原是这般不着痕迹，却动人心弦。",[7,23,209,1352,173,29,106,151,866,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b347b3f67fc81eebd171ee0cbca07b.jpg",[44],{"id":49333,"slug":49334,"title":49335,"dynasty":18,"author":278,"museum":206,"description":49336,"tags":49337,"thumbUrl":49338,"material":123,"size":49339,"collection":181,"collections":49340,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},218976,"xue-tang-chui-diao-tu-yi-ming-218976","雪塘垂钓图","这是一幅柳宗元诗歌《江雪》的画作，画中的渔夫带着嘀嗒声在江雪的天空中独自捕鱼。心情是空虚和冷漠的，笔触是清晰和减少的。虽然不一定是宋代，但可以追溯到元代。",[7,23,24,81,173,27,28,177,1775,29,865,174,1542,106,2310,734,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60d2b0f61e8804c3f763b7d1d90dc6.jpg","23.8x25.5",[181],{"id":49342,"slug":49343,"title":49344,"dynasty":18,"author":278,"museum":206,"description":49345,"tags":49346,"thumbUrl":49348,"material":123,"size":49349,"collection":90,"collections":49350,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},218730,"yun-long-shan-que-tu-yi-ming-218730","筠笼山雀图","这幅画描绘了两只小鸟在笼子里和笼子外玩耍的情景，笔触沉重，笼子的结构处理得很差，钱的形式是艺术家的印章 顺口溜。这幅画和这枚印章都是不真实的，应该被视为普通的复制品。",[7,23,24,209,28,27,83,5212,49347,178,81],"竹笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc639dbae1130bcbdab21b8cb2ceef9.jpg","26.9x25.9",[90],{"id":49352,"slug":49353,"title":1462,"dynasty":18,"author":278,"museum":206,"description":49354,"tags":49355,"thumbUrl":49356,"material":123,"size":139,"collection":181,"collections":49357,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},218694,"shan-shui-tu-yi-ming-218694","纨扇小景纳海天气象于尺幅间。浪涛奔涌，层层叠叠如堆雪翻银，墨线勾斫见波涛之势；右侧松枝如铁，虬曲横斜，松针密匝似攒云，树下亭榭隐现，似有幽人凭栏观海。动静相济里，壮阔与清寂交织——浪的奔腾衬松的苍劲，亭的静立藏观海者的悠然。墨色浓淡相宜，有限空间展无限遐思，尽得宋画小景中天地情怀与文人意趣，于细微处见苍茫，于静谧中藏生机。",[7,23,24,173,27,177,81,29,3191,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a47d5422bb0d9703f21a3cb78e8308.jpg",[181],{"id":49359,"slug":49360,"title":1462,"dynasty":18,"author":278,"museum":206,"description":49361,"tags":49362,"thumbUrl":49363,"material":123,"size":139,"collection":181,"collections":49364,"showCount":413,"zanCount":2209,"manualWeight":48,"mainColor":94},218693,"shan-shui-tu-yi-ming-218693","烟波浩渺间，一叶扁舟轻泛，舟中人影依稀，似与水色相融。右侧松枝虬曲，墨色浓淡交错，松针如丝倚石而立；山石皴法简练，与浅草相映，添了几分野趣。远山如黛，晕染在淡雾里，似天地间的留白，引视野向无尽悠远。\n\n整幅画以淡墨铺陈，虚实相生：静穆中藏灵动——水面微澜、松枝轻颤，皆在笔墨间流转。不刻意渲染，却于简约中见深远，静谧中显生机。仿佛能听见风声掠松梢，见水波拍舟舷，沉湎于自然与心灵的契合，尽得宋人山水中的诗意栖居之趣。",[7,23,209,173,27,29,177,174,1542,866,1265,2310,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd413e20f9a81db648f7fa8472822843b.jpg",[181],{"id":49366,"slug":49367,"title":49368,"dynasty":18,"author":278,"museum":6182,"description":49369,"tags":49370,"thumbUrl":49371,"material":123,"size":49372,"collection":44,"collections":49373,"showCount":413,"zanCount":2209,"manualWeight":48,"mainColor":49},218484,"sui-yang-wu-lao-tu-zhu-guan-xiang-yi-ming-218484","睢阳五老图-朱贯像","这五位老人都是宋朝的重臣，辞官后住在南京的睢阳，他们经常聚在一起写诗。时称“睢阳五老会”。",[7,23,209,24,225,28,27,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50de006a9494fa16a40c48bf42f3ba28.jpg","40.3x32.2",[44],{"id":49375,"slug":49376,"title":49377,"dynasty":76,"author":10054,"museum":20,"description":49378,"tags":49379,"thumbUrl":49380,"material":123,"size":49381,"collection":44,"collections":49382,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},218403,"wang-shi-zhen-fang-bai-xian-tu-yu-zhi-ding-218403","王士禛放白鹇图","这幅画描绘了王士禛坐在花园前的沙发上，手里拿着卷轴沉思的样子，而他面前的一个孩子打开笼子的门，放出一只白野鸡。画面上，云雾缭绕，远处的山头，山下的房屋掩映在云雾之中，一派开阔宁静的景象，恰如其分地表达了一个身居高位的人思念故土、想要逃离牢笼的内心感受。场景和情境的交织，充分表达了王诗的内容，并通过绘画表达了其内在的韵律，具有诗意和极强的感染力。",[7,23,24,25,28,27,106,266,34,29,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989f7c06a8f4982a8994af915a0e707f.jpg","26.1x110.7",[44],{"id":49384,"slug":49385,"title":49386,"dynasty":99,"author":11457,"museum":447,"description":49387,"tags":49388,"thumbUrl":49389,"material":123,"size":11461,"collection":139,"collections":49390,"showCount":413,"zanCount":2209,"manualWeight":48,"mainColor":629},218373,"ri-ben-luo-han-tu-dui-fu-2-ji-shan-ming-zhao-218373","日本· 罗汉图对幅2","这是一幅中国元代风格的笔触和色彩的虎形浮雕僧人画。他在东福寺工作，是寺庙的看门人，负责打扫殿堂和点灯，被称为兆殿司。他学习了中国宋元的绘画技巧，用笔有力，色彩浓重。",[7,23,27,106,8436,243,225,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3aeb101a0ae115d9b9e4aacc84c9843.jpg",[],{"id":49392,"slug":49393,"title":49394,"dynasty":76,"author":4406,"museum":78,"description":5908,"tags":49395,"thumbUrl":49396,"material":88,"size":5911,"collection":139,"collections":49397,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},216970,"fang-song-yuan-shan-shui-ce-10-wang-jian-216970","仿宋元山水册-10",[7,209,23,24,81,105,177,173,27,29,34,176,466,106,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138231a7ee6fa33fd5483a4fe320cb8e.jpg",[],{"id":49399,"slug":49400,"title":49401,"dynasty":76,"author":278,"museum":311,"description":49402,"tags":49403,"thumbUrl":49405,"material":123,"size":139,"collection":44,"collections":49406,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},216077,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-yi-ming-216077","职贡图巨幅彩绘册页第3册","画面分绘两人，左者为女子，彩条纹长裙摇曳生姿，青蓝披肩轻覆肩头，步履间尽显温婉神态；右者乃男子，蓝布长褂配浅色内裳，腰间束带勾勒质朴身形，神情从容自然。画作以工笔彩绘而成，线条细腻流畅，色彩搭配和谐雅致，人物神情生动传神，精准呈现出不同族群的服饰风貌与生活气息。作为职贡图的一部分，它不仅是技法精湛的艺术佳作，更承载着记录清代边疆族群文化、反映民族交流融合的历史价值，为后人窥探当时的社会风貌提供了珍贵的视觉窗口。",[7,209,23,4850,28,27,106,59,49404],"少数民族服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca5d1171391264734f402225c7c7f29.jpg",[44],{"id":49408,"slug":49409,"title":49410,"dynasty":76,"author":33827,"museum":311,"description":49411,"tags":49412,"thumbUrl":49414,"material":123,"size":33831,"collection":181,"collections":49415,"showCount":413,"zanCount":1337,"manualWeight":48,"mainColor":94},215147,"min-sheng-yan-chang-tu-juan-hua-xin-pu-sa-bao-215147","闽省盐场图卷-画芯","清朝时期的闽省盐场图卷-画芯是一件著名的文物。它是由清朝时期的画家所作，描绘了当时闽省的盐场景象。闽省盐场图卷-画芯因其精细的绘画技巧和对闽省盐场生产的精确描述而闻名。这件文物被认为是清朝时期艺术史上的重要作品，并被列为国家一级文物保护单位。",[7,23,25,27,28,104,29,31,10496,7258,7943,4064,15135,114,27362,49413],"盐场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2369b612c63db4d4809f238f9bdb851a.jpg",[181],{"id":49417,"slug":49418,"title":49419,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":49420,"thumbUrl":49421,"material":409,"size":4264,"collection":139,"collections":49422,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},214971,"dao-zi-mo-bao-ren-wu-bai-miao-hua-13-yi-ming-214971","道子墨宝人物白描画-13",[7,209,23,24,81,244,106,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34805397adabd18d0909f763cdaa6725.jpg",[],{"id":49424,"slug":49425,"title":49426,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":49427,"thumbUrl":49428,"material":409,"size":4264,"collection":139,"collections":49429,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},214964,"dao-zi-mo-bao-ren-wu-bai-miao-hua-24-yi-ming-214964","道子墨宝人物白描画-24",[7,23,24,244,106,243,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b67060661d5de465b7c151d21fb0c7b.jpg",[],{"id":49431,"slug":49432,"title":49433,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":49434,"thumbUrl":49435,"material":409,"size":4264,"collection":139,"collections":49436,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},214957,"dao-zi-mo-bao-ren-wu-bai-miao-hua-28-yi-ming-214957","道子墨宝人物白描画-28",[7,23,24,244,106,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f8aaa68821348a5a57e340edf8dd93.jpg",[],{"id":49438,"slug":49439,"title":49440,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":49441,"thumbUrl":49442,"material":409,"size":4264,"collection":139,"collections":49443,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},214955,"dao-zi-mo-bao-ren-wu-bai-miao-hua-26-yi-ming-214955","道子墨宝人物白描画-26",[7,23,24,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c96b37581a5622de56b7f8cb42ba0ff.jpg",[],{"id":49445,"slug":49446,"title":49447,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":49448,"thumbUrl":49449,"material":409,"size":4264,"collection":139,"collections":49450,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},214950,"dao-zi-mo-bao-ren-wu-bai-miao-hua-34-yi-ming-214950","道子墨宝人物白描画-34",[7,209,23,24,244,106,150,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1186f48c91bd09d5c6fb2aee74dd1a.jpg",[],{"id":49452,"slug":49453,"title":49454,"dynasty":76,"author":1047,"museum":132,"description":49455,"tags":49456,"thumbUrl":49457,"material":409,"size":139,"collection":139,"collections":49458,"showCount":413,"zanCount":48,"manualWeight":48,"mainColor":94},214388,"shan-shui-tu-ce-9-zhu-da-214388","山水图册-9","枯松如铁，虬枝斜探，墨线苍劲若篆籀，寥寥数笔便勾出山峦的峭拔与空濛。大片留白晕染云气流动，咫尺画幅生出千里烟霞之势。山石皴擦极简却见肌理，坡岸几株细树立得弱小倔强，似在空寂里守着生机。\n\n整幅画简淡到极致，藏着遗世的清冷与超脱——每处笔触都带疏离诗意，画家将心绪揉进墨里化在留白间，让观者于静默中触到天地浩渺与生命韧性。简而不空，淡而有味，八大山人以极简笔墨写尽深情，空寂里藏着乾坤，叫人在素净山水间读见一份倔强的诗意与旷达的心境。",[7,23,24,81,173,177,29,229,866,1365,1423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059f84d01ef03869f5a3310858fe5883.jpg",[],{"id":49460,"slug":49461,"title":49462,"dyna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由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[7,23,29,173,27,177,107,108,106,34,557,2310,263,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f03ee7c4a454a27bbbe56bc7379317f.jpg",[],{"id":49659,"slug":49660,"title":49661,"dynasty":99,"author":100,"museum":311,"description":3607,"tags":49662,"thumbUrl":49663,"material":2164,"size":2165,"collection":139,"collections":49664,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},288004,"bai-miao-luo-han-tu-juan-shang-bu-chou-ying-288004","白描罗汉图卷(上部)",[7,209,23,25,244,106,243,18311,8436,1365,176,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e592b366e3e837b966fe799cfea109.jpg",[],{"id":49666,"slug":49667,"title":49668,"dynasty":99,"author":2902,"museum":311,"description":23827,"tags":49669,"thumbUrl":49670,"material":2164,"size":2165,"collection":139,"collections":49671,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},287942,"qiu-shan-han-shu-tu-zhou-wang-fu-287942","秋山寒树图轴",[7,23,225,173,29,22863,229,35,1265,263,86,177,42591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a14128aeb069047921dc97c301c36.jpg",[],{"id":49673,"slug":49674,"title":49675,"dynasty":99,"author":45103,"museum":311,"description":49676,"tags":49677,"thumbUrl":49678,"material":2164,"size":2165,"collection":139,"collections":49679,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},287782,"shi-ba-ying-zhen-tu-ce-zheng-zhong-287782","十八应真图册","郑重，字千里，号无著，歙（今安徽歙县）人，流寓金陵（今南京）。好楼居，日事香茗。善写佛像，必斋沐而后举笔。丁云鹏推为赵伯驹后身。亦画山水小景。摹仿宋、元体均精妍。万历四十年（1612）临王蒙葛仙移居图，顺治五年（1648）作《十月岭梅图》。《无声诗史、歙县志、故宫书画集、风雨楼扇粹》。",[7,209,23,24,81,27,106,243,8567,18311,8436,808,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7fcdd0b5d1f912efbbf72fe3df14b2.jpg",[],{"id":49681,"slug":49682,"title":49683,"dynasty":76,"author":278,"museum":311,"description":49684,"tags":49685,"thumbUrl":49686,"material":2164,"size":2165,"collection":139,"collections":49687,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},287698,"fang-huang-gong-wang-fu-shan-chun-ju-tu-yi-ming-287698","仿黄公望富山春居图","此作用笔苍秀松灵，以披麻皴写山峦丘壑，复刻出原作浑厚华滋的山水意趣。远山淡晕如黛，近渚萦回清浅，林麓村居错落萧疏，尽显富春山野逸空濛之态。\n卷尾题跋笔墨雅致，与画境浑融一体，暗合元人山水“以画为寄”的隐逸风神，虽摹古却自见韵致，将江南富春山的空灵秀润尽藏尺幅间，是颇具功力的仿古佳制。",[7,23,25,173,1218,105,177,557,6868,1082,86,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982c0319d064f8f446d442b55159a94.jpg",[],{"id":49689,"slug":49690,"title":49691,"dynasty":76,"author":4137,"museum":311,"description":49692,"tags":49693,"thumbUrl":49694,"material":2164,"size":2165,"collection":139,"collections":49695,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},287420,"jiu-lu-tu-jin-kun-287420","九鹿图","金昆，清朝画家，善画。康熙（一六六二至一七二二）时供奉内廷，有庆丰图、虎邱待月图均邀御题。",[7,23,209,24,25,26,27,28,29,4778,1365,109,84,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b723b70834eaea898fe493dbe1921f.jpg",[],{"id":49697,"slug":49698,"title":30112,"dynasty":99,"author":12570,"museum":311,"description":49699,"tags":49700,"thumbUrl":49701,"material":2164,"size":2165,"collection":139,"collections":49702,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[7,23,25,1218,105,173,27,177,557,1082,194,35,16126,468,266,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":49704,"slug":49705,"title":49706,"dynasty":1483,"author":3526,"museum":311,"description":4379,"tags":49707,"thumbUrl":49709,"material":2164,"size":2165,"collection":139,"collections":49710,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},283637,"pin-you-ai-huo-kong-shi-zhong-you-xuan-san-tie-wang-xi-zhi-283637","频有哀祸、孔侍中、犹悬三帖",[7,86,178,2570,622,49708],"哀伤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22abba4f45a09ee811a15732747acb4.jpg",[],{"id":49712,"slug":49713,"title":49714,"dynasty":76,"author":7373,"museum":311,"description":33854,"tags":49715,"thumbUrl":49716,"material":2164,"size":2165,"collection":139,"collections":49717,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},241670,"lin-su-shi-qian-zi-wen-juan-qian-long-241670","临苏轼千字文卷",[7,24,25,105,86,178,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4f5b943233bb337a9fa87703d3b5d1.jpg",[],{"id":49719,"slug":49720,"title":49721,"dynasty":189,"author":49722,"museum":311,"description":49723,"tags":49724,"thumbUrl":49725,"material":139,"size":139,"collection":328,"collections":49726,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},239905,"zhuang-zi-nei-pian-juan-yu-ji-239905","庄子内篇卷","虞集","虞集（1272年3月21日－1348年6月20日），字伯生，号道园，世称邵庵先生 。祖籍成都仁寿（今四川省眉山市仁寿县），临川崇仁（今江西省抚州市崇仁县）人 。元朝官员、学者、诗人，南宋左丞相虞允文五世孙。\n虞集自少受家学，曾随名儒吴澄游学。元成宗大德初年，被举荐为大都路儒学教授，历任国子助教、博士等。元仁宗时，迁集贤殿修撰，除授翰林待制。元文宗时，累官至奎章阁侍书学士、通奉大夫。元宁宗驾崩后，称病返回临川。至正八年（1348年），虞集去世，年七十七。获赠江西行中书省参知政事、护军、仁寿郡公，谥号“文靖”。\n虞集素负文名，与揭傒斯、柳贯、黄溍并称“元儒四家”；诗与揭傒斯、范梈、杨载齐名，并称“元诗四大家”。曾领修《经世大典》，著有《道园学古录》《道园遗稿》等。",[7,86,25,178,263,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f83d15da8d44635581f70c9dc234c8.jpg",[328],{"id":49728,"slug":49729,"title":49730,"dynasty":189,"author":36140,"museum":20,"description":49731,"tags":49732,"thumbUrl":49733,"material":5507,"size":49734,"collection":328,"collections":49735,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},239632,"yang-wei-zhen-cheng-nan-chang-he-shi-tie-yang-wei-zhen-239632","杨维桢城南唱和诗帖","《城南唱和诗帖》释文\n款钤“廉夫”、“会稽杨维槙印”二方。鉴赏印有“太原颛庵王氏拙修堂收藏图书”、“王掞私印”、“西田”、“娄江王藻儒氏真赏”等，另钤孙承泽、王南屏私家藏印及嘉庆、宣统内府诸印。题跋有孙承泽、陈献章、谢肇淛、徐等家。《铁网珊瑚》、《庚子消夏录》、《石渠宝笈》三书著录。\n此卷书《城南杂咏》20首，原诗为南宋著名理学家张栻所作。张栻曾于长沙妙高峰筑城南书院，以居学者。《城南杂咏》20首即其对长沙城南诸胜景的咏怀之作。此后不久，朱熹访张栻于城南书院，和南轩诗作，遂成《城南唱和》20首。朱熹手迹经朱氏五世孙之手散出流传于世，辗转归元人虞子贤。当时张栻所书《城南杂咏》原迹已佚，虞氏遂请杨维桢追和张栻原诗，铁崖遂录张栻原诗20首。除原诗外，杨维桢又书“赘评”二则，简述为虞氏补书起因，并对张南轩诗作了评介，以为“有古风人思致”。\n在元代复古潮流中，杨维桢的书法因点画多不守常规，所以表现得格外出奇。结体上虽无珠圆玉润和儒雅精到之感，但其笔锋硬峭，筋骨强健，体势奇崛，具有一种壮美堂皇之气象。明代书法家吴宽评其书：“大将班师，三军奏凯，破斧缺斨，例载而归。廉夫书或似之。”徐有贞亦称：“铁崖狂怪不经，而步履自高。”此件作品写于杨维桢67岁时，笔势开拓，奔放不羁，风格清劲可喜。",[7,86,2570,25,263,2547,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1de427f78f196ea2b5a9b77078d8eb.jpg","纵31.6厘米，横216.6厘米",[328],{"id":49737,"slug":49738,"title":49739,"dynasty":76,"author":963,"museum":311,"description":4519,"tags":49740,"thumbUrl":49741,"material":139,"size":139,"collection":139,"collections":49742,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},234250,"yuan-ji-shi-hua-he-bi-tu-juan-shi-tao-234250","原济诗画合璧图卷",[7,23,24,25,173,178,226,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72859f2d1a40d9ef1ad376d60d03ee12.jpg",[],{"id":49744,"slug":49745,"title":49746,"dynasty":99,"author":25790,"museum":20,"description":25791,"tags":49747,"thumbUrl":49748,"material":1271,"size":139,"collection":139,"collections":49749,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},234239,"luo-han-juan-li-shi-da-234239","罗汉卷",[7,23,24,25,243,244,173,106,282,384,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95e683ca4c609b9d25fb50ba7fdf047.jpg",[],{"id":49751,"slug":49752,"title":49753,"dynasty":99,"author":35080,"museum":311,"description":49754,"tags":49755,"thumbUrl":49756,"material":841,"size":139,"collection":139,"collections":49757,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},234194,"fang-xia-gui-xian-shan-tu-juan-song-xu-234194","仿夏圭仙山图卷","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[7,23,25,173,177,105,263,29,34,35,174,108,266,1265,37,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e63cf3c48e1f03acef519e28f9af90a.jpg",[],{"id":49759,"slug":49760,"title":49761,"dynasty":99,"author":11163,"museum":20,"description":11164,"tags":49762,"thumbUrl":49763,"material":699,"size":139,"collection":139,"collections":49764,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},234179,"wen-jia-fang-mi-yun-shan-tu-juan-wen-jia-234179","文嘉仿米云山图卷",[7,23,24,25,105,173,177,29,734,2279,282,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc34426a88d7b44a9134580564d722f8.jpg",[],{"id":49766,"slug":49767,"title":49768,"dynasty":99,"author":18805,"museum":311,"description":18806,"tags":49769,"thumbUrl":49770,"material":139,"size":139,"collection":139,"collections":49771,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},234173,"hong-mei-juan-lu-fu-234173","红梅卷",[7,23,24,25,27,173,83,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5530a6366fac1d8b8eddabc5dc2e30.jpg",[],{"id":49773,"slug":49774,"title":49775,"dynasty":18,"author":3584,"museum":311,"description":49776,"tags":49777,"thumbUrl":49778,"material":699,"size":49779,"collection":139,"collections":49780,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},232882,"chun-xiao-bu-yu-tu-zhou-zhao-gou-232882","春晓捕鱼图轴","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，宋朝第十位皇帝、南宋第一代皇帝，在位三十五年。北宋皇帝宋徽宗第九子，宋钦宗之弟；曾获封为“康王”。在位初期因为眼见金朝强势，为了保持江山，起用主战派李纲、岳飞等等。但恐惧将领权力过大，为了强化中央集权，采取求和政策，终于绍兴十一年（1141年）与金朝达成绍兴和议，重用主和派黄潜善、汪伯彦、王伦、秦桧等人，并处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣，对金称臣。从此南宋与金朝形成南北对峙之格局。",[7,209,23,24,225,173,177,29,174,867,34,1265,2310,27145,31,557,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763ad8aae0080dc493a95d5237f9554.jpg","97x53 厘米",[],{"id":49782,"slug":49783,"title":49784,"dynasty":18,"author":1699,"museum":101,"description":49785,"tags":49786,"thumbUrl":49787,"material":699,"size":49788,"collection":139,"collections":49789,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},232773,"xue-shan-tu-juan-liu-song-nian-232773","雪山图卷","刘松年，约生于1155年，卒于1218年，钱塘（今浙江杭州）人，南宋著名画家，与南宋画家李唐、马远、夏圭合称为“南宋四大家”。\n刘松年有暗门刘的称号，暗门就是清波门，所以刘又号刘清波。他先为画院学生，光宗时期担任画院待诏。在画院工作期间，因成绩斐然，宁宗皇帝还曾给刘松年丰厚的物质奖励。他在画院体系地位也很尊崇，人们以绝品来对待刘松年及其绘画。\n刘松年绘画上，初学李唐、张敦礼，又继承了董源、巨然的部分艺术特征，严谨，典雅，清丽。他的题材多为江浙地区的风貌，西湖，茂林，修竹等。刘松年为人称道的地方，是发展了李唐大笔挥洒的斧劈皴，衍生出刮铁皴。这种皴法基本以小笔触为主，更加细腻。刘松年多园林小景，人称“小景山水”。\n刘松年除了山水之外，同时在人物画、界画、花鸟上，也水平甚高。据传，北京故宫博物院现藏《中兴四将图》，便是他的作品。这幅画人物生动，描绘精到，是宋代写实人物画的佳作。此外，他的《便桥会盟图》、《风雪运粮图》等人物故事画，也在中国绘画史上赫赫有名。此外，他的宗教画，罗汉等形象，则建立了中国佛画的一派典范。\n历史上流传下来的刘松年作品，大约有九十幅左右。这些作品真伪难辨。刘松年及其作品研究，是学术界以后仍然要力度加强的部分之一。",[7,209,23,24,25,173,29,177,7577,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02117c5bf69987bd9f56214a0e41ac.jpg","21.6×142.6厘米",[],{"id":49791,"slug":49792,"title":460,"dynasty":99,"author":37801,"museum":311,"description":49793,"tags":49794,"thumbUrl":49795,"material":699,"size":49796,"collection":139,"collections":49797,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},232635,"xi-shan-xing-lv-tu-leng-qian-232635","冷谦，元末明初武陵人，字启敬，道号龙阳子，初为僧人，后习儒，入道隐杭州吴山，博学，精通易经。著有琴书《琴声十六法》、养生学著作《修龄要指》。明朝协律郎。据说与刘秉忠相交，担任协律郎时已经年过百岁。世传其化鹤入瓶，事甚诡异。",[7,23,24,173,106,6926,29,34,1542,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fcf4a51cb2d9205e685b3b317e840a0.jpg","45x33厘米",[],{"id":49799,"slug":49800,"title":49801,"dynasty":277,"author":278,"museum":311,"description":49802,"tags":49803,"thumbUrl":49804,"material":139,"size":139,"collection":139,"collections":49805,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},231758,"ying-hua-pu-tu-juan-yi-ming-231758","樱花谱图卷","此作为折页长卷，每开撷取一枝樱花小景，将诸类樱株的风姿尽皆铺展。\n设色清妍多变，从绯色柔瓣、素白琼英到浅黄淡蕊，晕染细腻柔和，朱红叶芽与莹白花团相映成趣。枝桠穿插自然生动，或盛放、或初绽，尽显春日樱华的清灵柔婉。\n每幅配搭题识小字，笔致秀雅，与写生花枝相映，兼具博物记录的写实鲜活与文人雅绘的温婉意趣，将樱花的娇妍百态一一绘就，藏着春日独有的温柔雅致。",[7,23,24,25,27,28,83,22238,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a94b73e4c92aaf3ddcb3fd8745038d.jpg",[],{"id":49807,"slug":49808,"title":49809,"dynasty":277,"author":49810,"museum":311,"description":49811,"tags":49812,"thumbUrl":49814,"material":139,"size":139,"collection":139,"collections":49815,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},231698,"da-xing-ge-wu-tu-ping-bei-chuan-xi-duo-231698","大型歌舞图屏","北川喜多","这幅作品以雅致内宅铺陈叙事，前景蓝衣女子独坐托腮，眉宇漫着怅惘神伤，身侧女伴俯身凝视，眼底藏着关切共情。回廊之上，仆童携物奔走，侍女凭栏远眺，层层延伸出宅邸的幽纵深阔。\n\n画家以秀逸柔婉的线条勾勒和服精美纹样，柔和雅致的色调晕染出温婉日常，将闺中私密的细腻心事，与宅邸里松弛鲜活的烟火气相融，把片刻幽微情绪定格为隽永的市井剪影，尽显对世俗人情的精妙捕捉。",[7,13178,27,28,106,59,63,14900,3830,2220,9260,49813],"箱具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c40e7fa072fb2f2bfcfd20a661f7522.jpg",[],{"id":49817,"slug":49818,"title":49819,"dynasty":277,"author":278,"museum":311,"description":49820,"tags":49821,"thumbUrl":49822,"material":2164,"size":2165,"collection":139,"collections":49823,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},231687,"ping-an-shi-dai-e-gui-cao-zhi-yi-ming-231687","平安时代 恶鬼草纸","此卷以幽谲笔致铺陈幽冥幻景，起首狞厉恶鬼赤面焰发，拖拽拷打罪者，怪骇形貌带着慑人的怖气。继而转绘冥境丘泽，精怪盘桓、寒鸟掠空，荒寂山景藏着隐秘的妖异氛围。后半段落回人间宅邸，鬼魅附着日常起居，悄然撕开阴阳两界的缝隙。\n\n笔墨简淡古拙，残褪的朱红晕开岁月斑驳，将佛教果报之说揉入和风怪谈，以稚拙线条勾勒出旧时代对幽冥的想象，让泛黄纸本载着千年的畏怖诡奇，铺展出一场跨越阴阳的怪幻绘卷。",[7,25,244,27,106,2161,808,433,29,114,8782,42181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71db9ddecacf189990a84725835b6d52.jpg",[],{"id":49825,"slug":49826,"title":49827,"dynasty":277,"author":278,"museum":311,"description":49828,"tags":49829,"thumbUrl":49830,"material":2164,"size":2165,"collection":139,"collections":49831,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":629},231597,"lian-cang-shi-dai-kong-zi-xiang-li-zhou-yi-ming-231597","镰仓时代 孔子像立轴","画面以沉古绢底铺陈，主尊安坐榻上，垂髯宽袍，神态温蔼端方，尽显儒者雍容亲和的气度。两侧弟子恭侍身侧，或持卷凝思，或侧耳聆教，定格孔门问道的静谧瞬间。\n\n线条朴拙凝练，衣褶晕染自然，无繁复修饰，以简淡笔墨勾勒出千年前师授道传的肃穆学风。残旧题字晕开岁月痕迹，晕染出古雅沉穆的氛围，将圣人的温润风骨与孔门治学的笃厚气象融于笔底，尽显东方人文的厚重意韵。",[7,23,24,225,106,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec32456e70e2976707c878a961b9b2c7.jpg",[],{"id":49833,"slug":49834,"title":49835,"dynasty":99,"author":170,"museum":78,"description":49836,"tags":49837,"thumbUrl":49838,"material":699,"size":49839,"collection":139,"collections":49840,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[7,23,24,25,173,27,177,178,1163,86,263,29,34,106,1755,31,176,1365,4272,175,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":49842,"slug":49843,"title":49844,"dynasty":99,"author":817,"museum":311,"description":49845,"tags":49846,"thumbUrl":49847,"material":1691,"size":49848,"collection":139,"collections":49849,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[7,23,173,177,225,29,7577,865,1365,468,176,175,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","167×60cm",[],{"id":49851,"slug":49852,"title":49853,"dynasty":76,"author":49854,"museum":311,"description":49855,"tags":49856,"thumbUrl":49857,"material":139,"size":49858,"collection":139,"collections":49859,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},231377,"yi-yuan-tu-ce-shen-cang-231377","怡园图册","沈苍","顾沄，字若波，号云壶、壶隐等。吴县（江苏苏州）人。工画山水，清丽疏古，得“清初六家”之长。怡园位于苏州，同治十三年（1874年）时任浙江宁绍道台的顾文彬购得此地，兴建怡园。由于顾文彬当时在外地任官，营造事宜由其子顾承主持，顾文彬特地嘱咐他多与画家商议。三年后园林建成，顾沄为绘怡园十六景，后又补绘四景。在苏州园林中，怡园是建造较晚的一座，顾文彬希望能荟萃诸园之长，从顾沄图中可以看到，《松籁阁》的画舫效法拙政园的香洲，《南雪亭》的石幢有似留园的经幢，《绛霞洞》的假山则模仿狮子林，其他如网师园的水池、沧浪亭的复廊等等都能在怡园找到痕迹。顾沄的《怡园图册》将观者带入园中，近距离地游赏各景。\n对研究怡园而言，最重要的是顾沄的十六景图和顾文彬的“词并序”。顾文彬的《怡园十六景词并序》共有十六段，前面有小序介绍园景，后面一阕小词阐发意蕴，与《十六景图》一一对应。这组景致按游览顺序展开，各景为先后关系，而非主次关系。怡园有幸留存至今，提供了将园图与实景对照的机会，从中可发现这套册页的写实程度之高。值得注意的是，传统山水画往往在明山秀水间点缀人物，提示观者应如何欣赏风景，但《怡园十六景图》则未画任何人物。这从侧面证明，顾沄和顾承的主要目的是再现景致。在《怡园图》中，园景成为重点，少了人物的干扰，观者反而可以更专注地投入其中，享受这一片天然的“无我之境”。",[7,23,104,27,28,29,107,175,34,176,109,1434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58131b67127eeb79a8a1cfa85c6f53b7.jpg","33.3×42.4×26",[],{"id":49861,"slug":49862,"title":49863,"dynasty":99,"author":278,"museum":311,"description":49864,"tags":49865,"thumbUrl":49866,"material":139,"size":139,"collection":139,"collections":49867,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},231355,"ming-dai-di-hou-ban-shen-xiang-yi-ming-231355","明代帝后半身像","明宣宗朱瞻基（1399年3月16日－1435年1月31日），或称宣宗章皇帝，明仁宗嫡长子，永乐九年（1411年）立为皇太孙；永乐二十二年（1424年）十月立为皇太子。洪熙元年（1425年）即位，次年改元宣德，明朝第5位皇帝，在位十年，享年35岁。宣德元年（1426年）平定高煦之乱，和其父仁宗一样，比较能倾听臣下的意见，听从二朝元老兼阁臣杨士奇、杨荣、杨溥等建议，停止对交阯用兵，与明仁宗并称“仁宣之治”，宣宗时君臣关系融洽，经济也稳步发展。不过，他也开启此后宦官干政的局面。",[7,23,28,27,106,12317,939,63,8035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff976655db328fbf0430dd7f89d4a9c84.jpg",[],{"id":49869,"slug":49870,"title":3263,"dynasty":76,"author":336,"museum":311,"description":8128,"tags":49871,"thumbUrl":49872,"material":2164,"size":2165,"collection":139,"collections":49873,"showCount":565,"zanCount":2209,"manualWeight":48,"mainColor":94},230210,"hua-niao-ce-ye-lang-shi-ning-230210",[7,209,23,24,4850,28,27,1126,8725,83,384,7514,1059,6025,3226,658,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":49875,"slug":49876,"title":4509,"dynasty":76,"author":41588,"museum":311,"description":49877,"tags":49878,"thumbUrl":49879,"material":139,"size":139,"collection":139,"collections":49880,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},230186,"shan-shui-li-zhou-zhang-yin-230186","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[7,23,27,177,225,29,1365,108,109,35,106,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643f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0,"thumbUrl":50011,"material":139,"size":139,"collection":139,"collections":50012,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[7,23,24,81,173,27,29,108,109,174,34,35,37,1265,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":50014,"slug":50015,"title":7315,"dynasty":18,"author":1395,"museum":311,"description":50016,"tags":50017,"thumbUrl":50018,"material":139,"size":139,"collection":139,"collections":50019,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[7,209,23,24,25,244,28,177,106,150,107,34,176,263,86,114,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],{"id":50021,"slug":50022,"title":50023,"dynasty":18,"author":278,"museum":311,"description":50024,"tags":50025,"thumbUrl":50026,"material":139,"size":139,"collection":139,"collections":50027,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[7,23,24,29,104,27,28,1085,2310,111,1265,107,1253,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],{"id":50029,"slug":50030,"title":50031,"dynasty":18,"author":278,"museum":311,"description":50032,"tags":50033,"thumbUrl":50036,"material":139,"size":139,"collection":139,"collections":50037,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},227925,"jiao-yin-ji-qiu-tu-ye-yi-ming-227925","蕉荫击球图页","《蕉阴击球图》是宋代佚名画家创作的一幅绢本设色画，现藏于 。\n无作者款印。\n对幅清高宗弘历御题诗一首。\n本幅、对幅及裱边钤高宗弘历“古稀天子”、“八徵耄念之宝”、“ ”等鉴藏印，共6方。\n此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。\n在笔法上，作者注重物象间的对比互衬关系。\n人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。\n湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。\n湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。\n以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。\n当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。\n此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。\n此图原载《宋人名流集藻册》。\n图绘一仕女童于桌旁观看一老一小两人作击球行了游戏。\n庭院中绿草如茵，湖石矗立，芭蕉成荫。\n仕女认真观球的神态和儿童击球的细小动作刻画得自然生动。\n全图用工笔重彩法，衣纹勾线简练细劲，设色艳而不火，工而不板，为南宋小幅人物画精作。\n此图蕉题签为苏汉臣作，但究其画风，与苏汉臣有别。\n在古代，见婴戏必题 作，见牛必题戴嵩，见马即题韩干之类，实属偏见，故今改为无名氏作。\n画中钤有「东莱」印一方，经《 》著录。",[7,23,24,4850,28,27,106,4304,50034,178,263,50035],"蕉树","击球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea29c347ebabee65faf94a2305bd7ce.jpg",[],{"id":50039,"slug":50040,"title":50041,"dynasty":18,"author":278,"museum":311,"description":50042,"tags":50043,"thumbUrl":50044,"material":139,"size":139,"collection":139,"collections":50045,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},227864,"chun-shan-yu-ting-ye-yi-ming-227864","春山渔艇页","这幅团扇以平远之法铺陈春景，淡晕的山峦柔缓舒展，烟霭轻笼水岸，晕开朦胧的春日清氛。陂陀石岸旁，林木枯荣交错，带着早春初醒的疏懒意态，青绿与赭石轻扫山石水岸，晕染出江南春山的温润水汽。\n\n一叶渔艇静浮水面，独钓的渔翁将幽寂闲散的隐逸意趣揉入空阔水色中。整作无繁复刻画，以简淡笔触晕开春日水滨的清寂淡然，将宋人娴静雅致的山水心境藏在尺幅之间，淡而弥远，静中生境，把江南早春的疏朗与幽隐心绪融成一缕绵长余韵。",[7,23,24,1352,27,29,174,866,109,867,177,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce57e3ac98b56a84f84c690afbf0f9b.jpg",[],{"id":50047,"slug":50048,"title":50049,"dynasty":18,"author":278,"museum":311,"description":50050,"tags":50051,"thumbUrl":50053,"material":139,"size":139,"collection":139,"collections":50054,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},227838,"xian-nv-cheng-luan-tu-yi-ming-227838","仙女乘鸾图","《五代周文矩仙女乘鸾图》是五代南唐画家 所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 》等。",[7,23,1352,28,27,106,59,50052,266,795,37,263],"神鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd1fa7526358a03d725c63f905f8a92.jpg",[],{"id":50056,"slug":50057,"title":50058,"dynasty":18,"author":5270,"museum":311,"description":37896,"tags":50059,"thumbUrl":50060,"material":2164,"size":2165,"collection":139,"collections":50061,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},227815,"bin-feng-qi-yue-tu-juan-wen-zheng-ming-ba-ma-he-zhi-227815","豳風七月图卷文徵明跋",[7,1004,23,24,25,1163,86,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afaf614079908a09b751e9389226f63.jpg",[],{"id":50063,"slug":50064,"title":50065,"dynasty":18,"author":19930,"museum":311,"description":50066,"tags":50067,"thumbUrl":50068,"material":139,"size":139,"collection":139,"collections":50069,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[7,209,23,24,25,173,244,106,29,34,6384,808,11064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":50071,"slug":50072,"title":50073,"dynasty":18,"author":48816,"museum":311,"description":50074,"tags":50075,"thumbUrl":50076,"material":139,"size":139,"collection":139,"collections":50077,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},227577,"fan-wang-li-fo-tu-juan-zhao-guang-fu-227577","番王礼佛图卷","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。\n\n赵光辅 (公元10世纪中-11世纪初)〔北宋〕耀州华原(今陕西耀县)人，五代南唐时布衣，北宋初爲图画院学生，故乡里呼爲“赵评事”，生卒年不详。画艺活动在宋太祖、太宗、真宗(960-1022)间。工画道释人物，兼精蕃马走兽，亦工竹木花卉，笔锋劲利，名“刀头燕尾”。所作线条流畅，人物形象清楚，骨骼厚重，刻画细致入微，设色典雅沉稳，有唐吴道子遗风。曾在许昌开元、龙兴两寺创作壁画，在开元寺所画之《五百罗汉图》，“姿质风度互有意思，坐立瞻听皆得其妙，貌若悲觉以动观者”。据北宋绍圣元年(1094)著名金石、书画家游师雄《题赵光辅画壁》碑云：“云阳(今陕西泾阳县)孟店镇西寺殿后画《自在观音》一壁，曲尽端严闲暇态度。其左有外国胡王与人从焚香状，貌极恭虔；其右有衣王者服，罄瞻礼之容，旁有衔花野兽，麋鹿虎豹各尽驯伏情状。至于竹木花卉，无不精至，南向画魔女恼佛，云雷震电，其势可怖；魔女变形，揽镜自照，遽作惊惭自失之状，尤爲奇绝。然后知光辅不独工于马也。……”碑今存泾阳县文化馆。",[7,23,24,25,27,28,243,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b7f502dddb1a49e90b3c6d1c398b59.jpg",[],{"id":50079,"slug":50080,"title":50081,"dynasty":18,"author":278,"museum":311,"description":42000,"tags":50082,"thumbUrl":50083,"material":139,"size":139,"collection":139,"collections":50084,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":255},227369,"yu-lin-ku-003-ku-yong-dao-bei-bi-yi-ming-227369","榆林窟003窟甬道北壁",[7,538,18,106,27,243,1945,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51da7113ec81f9462529514cfda561f0.jpg",[],{"id":50086,"slug":50087,"title":29,"dynasty":76,"author":21699,"museum":311,"description":21700,"tags":50088,"thumbUrl":50089,"material":139,"size":139,"collection":139,"collections":50090,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},226637,"shan-shui-pu-ru-226637",[7,209,23,24,225,27,177,29,108,109,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":50092,"slug":50093,"title":50094,"dynasty":76,"author":21699,"museum":311,"description":34680,"tags":50095,"thumbUrl":50096,"material":139,"size":139,"collection":139,"collections":50097,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},226635,"si-shi-shan-shui-08-pu-ru-226635","四时山水08",[7,23,24,81,173,177,29,174,175,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eea02cc99e83b92777a52ae8be0545e.jpg",[],{"id":50099,"slug":50100,"title":50101,"dynasty":76,"author":963,"museum":311,"description":50102,"tags":50103,"thumbUrl":50104,"material":139,"size":139,"collection":139,"collections":50105,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},224514,"shan-shui-tu-ce-8-kai-3-zhang-da-qian-jiu-cang-shi-tao-224514","山水图册8开-3-张大千旧藏","淡墨晕开平湖烟波，水汽裹着远山晕成一片黛色，皴擦写意的峰峦带着朴拙苍劲的质感，晕染出清旷的天地底色。近岸林木错落，干湿浓墨交织出深浅层次，三两渔舟横斜泊岸，静卧于烟水间。江畔幽坐的旅人凝望远山，留白铺就的水面将万般归思揉进空濛雾色。题画小字清雅错落，朱红闲章点缀素净画面，盘活了满卷静气。整幅笔意纵恣随性，以极简笔墨勾勒出山川清旷之美，将羁旅幽怀融于烟水林峦，藏着静穆淡远的禅意，尽显写意山水的空濛悠远。",[7,23,173,177,81,24,263,29,174,34,557,106,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546454255510cf28a6ced2790a597e6c.jpg",[],{"id":50107,"slug":50108,"title":50109,"dynasty":76,"author":16577,"museum":311,"description":50110,"tags":50111,"thumbUrl":50112,"material":139,"size":139,"collection":139,"collections":50113,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[7,209,23,173,177,225,29,1365,4272,865,770,3620,176,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":50115,"slug":50116,"title":50117,"dynasty":76,"author":7940,"museum":311,"description":50118,"tags":50119,"thumbUrl":50122,"material":139,"size":139,"collection":139,"collections":50123,"showCount":565,"zanCount":2209,"manualWeight":48,"mainColor":94},224471,"liang-chang-shan-guan-tu-wang-hui-224471","良常山馆图","此画以高远构法铺展丘壑，主峰巍峨矗立，以细密披麻皴勾勒山石苍厚肌理，崖壁挺拔如削，尽显山川雄浑气魄。山间林木错落枯荣交织，深谷幽坳里茅庐隐现，清溪绕石穿林，携着潺潺野趣蜿蜒而出。\n笔墨兼工带写，秀润中透着苍劲，浅淡晕染柔和雅致，将山野沉郁的厚重与山居的清寂相融，把幽居丘园的隐逸雅兴，尽数藏进咫尺山水间，尽显静穆淡远的林下雅韵。",[7,209,23,1218,225,1842,3202,27,176,1082,50120,5186,12141,13620,20284,50121],"茅庐","静穆淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20794c152eb9e022b762b85b450fba70.jpg",[],{"id":50125,"slug":50126,"title":7137,"dynasty":76,"author":7940,"museum":311,"description":50127,"tags":50128,"thumbUrl":50129,"material":139,"size":139,"collection":139,"collections":50130,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[7,23,24,225,27,177,29,34,558,468,1265,37,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":50132,"slug":50133,"title":37088,"dynasty":76,"author":1584,"museum":311,"description":50134,"tags":50135,"thumbUrl":50136,"material":139,"size":139,"collection":139,"collections":50137,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[7,23,25,27,29,177,175,107,108,109,266,34,111,10496,5048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],{"id":50139,"slug":50140,"title":50141,"dynasty":76,"author":15455,"museum":311,"description":33473,"tags":50142,"thumbUrl":50143,"material":699,"size":139,"collection":181,"collections":50144,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图",[7,23,24,27,29,177,734,384,175,108,109,1871,176,468,1087,34,18283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[181],{"id":50146,"slug":50147,"title":50148,"dynasty":76,"author":15455,"museum":311,"description":50149,"tags":50150,"thumbUrl":50151,"material":139,"size":139,"collection":139,"collections":50152,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},224257,"xi-ting-du-tiao-tu-cha-shi-biao-224257","溪亭独眺图","《新安画派·查士标-中国古代画派大图范本-二》是212年 出版的图书，作者是査士标。\n中国古代画派大图范本·新安画派二：溪亭独眺图，ISBN：97875481188，作者：杨东胜",[7,23,173,225,29,175,384,108,109,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e830b7b27daf04d27a64ae0f32cc68.jpg",[],{"id":50154,"slug":50155,"title":50156,"dynasty":76,"author":1563,"museum":311,"description":50157,"tags":50158,"thumbUrl":50159,"material":139,"size":139,"collection":139,"collections":50160,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},224191,"she-se-qu-yu-shuang-qi-tu-hua-yan-224191","设色鸲鹆双栖图","此作以空灵留白铺陈底色，枯木虬曲舒展，淡蓝花萼点缀枝桠，晕染出清寂雅致的春日氛围。禽鸟或独立垂首，或依偎枝梢，墨色浓淡变化尽显鸟羽蓬松柔润质感，红爪尖喙鲜亮醒目，将鸲鹆的灵动机趣刻画入微。\n\n笔墨工写相融，写意枯石淡染花枝，工笔描摹禽鸟形神兼备，萧疏中暗藏生趣，尽显清逸隽秀的文人意趣，把闲静安栖的林下之景晕染开来，将江南画派的灵秀雅致藏于淡墨留白之间，是颇具韵致的花鸟佳构。",[7,23,24,225,27,83,400,38047,26888,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F139f403993c7353c724ca1f532a8d0a2.jpg",[],{"id":50162,"slug":50163,"title":50164,"dynasty":76,"author":38378,"museum":311,"description":50165,"tags":50166,"thumbUrl":50167,"material":2164,"size":2165,"collection":139,"collections":50168,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},224160,"song-wu-di-yu-zang-dao-chi-juan-wu-xi-zai-224160","宋武帝与臧焘敕卷","吴让之（1799－1870），清末书画篆刻家。原江苏江宁人，自父吴明煌起移居仪征，晚年流寓泰州。原名廷飏，字熙载，50岁后更字让之、攘之，号让翁、攘翁、晚学居士、晚学生、方竹丈人、言庵、言甫、难进易退学者。斋堂为晋铜鼓斋、师慎轩。吴让之小学功力很深，画作士气盎然，书法篆所不能，且精金石考据之学。篆刻初宗汉印，悉心摹仿，后师邓石如（完白山人），参以己意，晚年之作入化境。",[7,1163,86,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf2ab5cfc1ded49fb9543fe228d5ee2.jpg",[],{"id":50170,"slug":50171,"title":7353,"dynasty":18,"author":278,"museum":311,"description":50172,"tags":50173,"thumbUrl":50174,"material":139,"size":139,"collection":139,"collections":50175,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":49},223657,"jin-ming-chi-zheng-biao-tu-yi-ming-223657","此作用精工界画描摹池苑盛景，朱红飞檐沿水铺展，虹桥凌波串联洲屿，殿台廊榭的斗拱榫卯分毫毕现。\n\n水面之上楼船列阵、彩旗微漾，竞渡健儿挥棹如飞，争标嬉水的喧闹仿佛冲破古绢。城垣垂柳轻拂水岸，往来小艇点缀烟波，将皇家游赏的闲逸与赛事的紧张相融，定格下汴京春日的鲜活盛景。\n\n设色调和古雅，笔致细腻写实，带着宋画特有的雅致沉静，让千年前的升平跃然眼前，将彼时的游观雅趣与竞技热络尽数藏在绢素方寸间，尽显入微观察力与写实传神的宋画魅力。",[7,23,209,104,27,28,107,108,109,118,106,266,34,1087,114,4064,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85e658915ce503fbd031386625d9a8.jpg",[],{"id":50177,"slug":50178,"title":460,"dynasty":18,"author":278,"museum":206,"description":50179,"tags":50180,"thumbUrl":50181,"material":160,"size":50182,"collection":139,"collections":50183,"showCount":565,"zanCount":48,"manualWeight":48,"mainColor":94},223569,"xi-shan-xing-lv-tu-yi-ming-223569","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[7,23,24,1352,173,177,86,178,263,29,229,34,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 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。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。",[7,86,178,25,407,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c5465c977d3dfab9995d7c3489a9b.jpg",[],{"id":50974,"slug":50975,"title":50976,"dynasty":189,"author":31275,"museum":20,"description":50977,"tags":50978,"thumbUrl":50979,"material":139,"size":139,"collection":328,"collections":50980,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},239686,"du-fu-wei-jiang-jun-ge-juan-xian-yu-shu-239686","杜甫魏将军歌卷","释文：将军昔着从事衫，铁马弛突重两衔。被坚执锐略西极，昆仑月窟东巉岩。君门羽林万猛士，恶若哮虎子所监。五年起家列霜戟，一日过海收风帆。平生流辈徒蠢蠢，长安少年气欲尽。魏侯骨耸精神紧，华岳峰尖见秋隼。星躔宝校金盘陀，夜骑天驷超天河。搀枪荧惑不敢动，翠蕤五旓相荡摩。吾为子起歌部擭，酒阑插剑肝胆露。勾陈苍苍风玄武，万岁千秋奉明主，临江节士安足数。",[7,86,2570,25,263,4472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccb3a98ca28892a94249052f0114102.jpg",[328],{"id":50982,"slug":50983,"title":50984,"dynasty":99,"author":20709,"museum":20,"description":50985,"tags":50986,"thumbUrl":50987,"material":2570,"size":50988,"collection":328,"collections":50989,"showCount":628,"zanCount":1337,"manualWeight":48,"mainColor":94},239628,"zi-shu-shi-juan-jie-jin-239628","自书诗卷","解缙《自书诗》卷释文\n本幅共录自作诗 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6首均见于解缙《文毅集》，其中个别诗句互有出入。\n作品创作于永乐八年（1410年），时解缙42岁，恰从遥远的边陲入京奏事。之后不久即被陷入狱，５年后惨死狱中。此卷书法纵横超逸，奔放洒脱，点划出规入矩，绝无草率牵强处。章法经营尤见匠心，全篇一气呵成，神气自备，显示出解缙驾御长卷游刃有余的不凡功力。从卷末自识中流露出解缙本人对此卷也是颇为得意的。他把这件得意之作送给祯期，祯期为解缙兄解纶之子，以书名，不失门风。\n幅后有明王穉登跋一则。钤诸家鉴藏印共25方。曾经清安岐、乾隆、嘉庆、宣统御府收藏。《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《石渠随笔》等书著录。",[7,939,86,24,25,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d422b5d628f1482f54d5ee322fe7f7.jpg","纵34.3厘米，横472厘米",[328],{"id":50991,"slug":50992,"title":50993,"dynasty":76,"author":278,"museum":311,"description":50994,"tags":50995,"thumbUrl":50996,"material":139,"size":139,"collection":139,"collections":50997,"showCount":628,"zanCount":1337,"manualWeight":48,"mainColor":94},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[7,23,24,25,28,27,83,226,62,512,696,22461,109,176,928,940,227,369,404,691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],{"id":50999,"slug":51000,"title":51001,"dynasty":99,"author":51002,"museum":20,"description":51003,"tags":51004,"thumbUrl":51005,"material":841,"size":139,"collection":139,"collections":51006,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},234238,"jiang-nan-sheng-gai-tu-juan-zhu-zong-ru-234238","江南胜概图卷","朱宗儒","朱宗儒如字忆云。秀水（今嘉兴）人。善画山水人物。为人放浪不羁，弃诸生而游江湖，同邑戴泾曾为之传。",[7,23,24,25,173,29,106,35,34,177,108,109,194,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg",[],{"id":51008,"slug":51009,"title":51010,"dynasty":99,"author":51011,"museum":20,"description":51012,"tags":51013,"thumbUrl":51014,"material":841,"size":139,"collection":139,"collections":51015,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[7,209,23,24,25,27,29,177,176,1365,107,108,109,35,116,5816,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":51017,"slug":51018,"title":47258,"dynasty":76,"author":1262,"museum":20,"description":51019,"tags":51020,"thumbUrl":51021,"material":841,"size":51022,"collection":139,"collections":51023,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[7,23,24,25,173,29,177,86,178,263,734,282,34,175,108,109,174,558,35,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":51025,"slug":51026,"title":51027,"dynasty":99,"author":51028,"museum":311,"description":51029,"tags":51030,"thumbUrl":51031,"material":139,"size":139,"collection":139,"collections":51032,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[7,23,24,25,173,28,29,108,109,107,175,866,1422,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":51034,"slug":51035,"title":51036,"dynasty":99,"author":817,"museum":20,"description":51037,"tags":51038,"thumbUrl":51039,"material":1893,"size":51040,"collection":139,"collections":51041,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[7,23,24,25,173,244,178,263,29,83,106,403,226,385,928,370,402,406,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","每段 纵32.6厘米 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晚年山水杰作。",[7,23,464,225,177,29,557,468,865,558,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a4c833b694c49f7fa5fbf3c4a1a23d.jpg","109.1x45.8厘米",[],{"id":51086,"slug":51087,"title":51088,"dynasty":277,"author":51089,"museum":311,"description":51090,"tags":51091,"thumbUrl":51093,"material":2164,"size":2165,"collection":139,"collections":51094,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},231785,"ming-qing-ri-ben-gu-hua-fen-ben-yao-guai-chu-xing-juan-he-guo-xiao-zhai-231785","明清日本古画粉本-妖怪出行卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[7,25,244,173,106,51092,15230,2508,263],"妖怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1401d1e4f5070159203b05ca347f68cc.jpg",[],{"id":51096,"slug":51097,"title":51098,"dynasty":277,"author":51099,"museum":311,"description":51100,"tags":51101,"thumbUrl":51102,"material":2164,"size":2165,"collection":139,"collections":51103,"showCount":628,"zanCount":2209,"manualWeight":48,"mainColor":49},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 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g":51291,"title":51292,"dynasty":18,"author":278,"museum":311,"description":51293,"tags":51294,"thumbUrl":51295,"material":139,"size":139,"collection":139,"collections":51296,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[7,23,24,4850,173,27,29,174,34,114,109,1265,1542,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":51298,"slug":51299,"title":51300,"dynasty":18,"author":278,"museum":311,"description":51301,"tags":51302,"thumbUrl":51303,"material":139,"size":139,"collection":139,"collections":51304,"showCount":628,"zanCount":2209,"manualWeight":48,"mainColor":49},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[7,23,24,1352,28,27,106,151,13834,108,109,34,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":51306,"slug":51307,"title":51308,"dynasty":18,"author":278,"museum":311,"description":51309,"tags":51310,"thumbUrl":51311,"material":139,"size":139,"collection":139,"collections":51312,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227906,"qiu-shu-qu-yu-tu-yi-ming-227906","秋树鸜鹆图","此作以团扇形制铺陈秋意，浓墨绘就禽鸟，羽翼晕染层次分明，玄色翎毛光泽宛然，顶间细羽轻耸，目光锐而不厉，爪紧扣枯枝，静立间暗含灵动生机。旁侧秋树枯淡萧疏，枝叶以浅赭晕染，枯涩苍劲的枝干与浓黑禽鸟形成鲜明的色形对比。\n\n整幅笔意工细写实，将秋日林间的清寂氛围烘托尽致，于尺幅之间藏着雅致悠远的意境，尽显对自然生趣的细致体察，把禽鸟的慵懒幽闲与秋意的萧索柔和相融，是小品中的精妙之制。",[7,23,24,1352,27,28,83,866,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcea6e0955e2524931f7f5c1713d17.jpg",[],{"id":51314,"slug":51315,"title":51316,"dynasty":18,"author":278,"museum":311,"description":51317,"tags":51318,"thumbUrl":51319,"material":139,"size":139,"collection":139,"collections":51320,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 绢本",[7,209,23,24,81,28,27,106,9044,283,34,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":51322,"slug":51323,"title":51324,"dynasty":18,"author":278,"museum":311,"description":51325,"tags":51326,"thumbUrl":51327,"material":139,"size":139,"collection":139,"collections":51328,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},227889,"cang-hai-yong-ri-tu-ye-yi-ming-227889","沧海涌日图页","此作用浓淡变幻的墨色勾勒翻涌沧波，层叠浪涛卷着白沫奔涌不息，一轮朝日自海雾中缓缓浮现，晕染开朦胧天光。水纹肌理刻画入微，浪涛的雄浑动感与朝日的静穆柔和相映，将拂晓山海间辽远磅礴又带着初醒静谧的意境尽数铺展。\n\n左侧题诗与画境呼应，诗画合璧，以尺幅团扇承载浩瀚山海气象，尽显以小见大的精妙意趣，笔力苍劲细腻，墨色层次丰富，把沧海涌日的磅礴瞬间凝于绢素之上，藏天地灵韵于方寸之间。",[7,2042,23,24,81,28,27,29,32596,435,19073,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29729fff9eb5bf2c5f979e5438cdbc4f.jpg",[],{"id":51330,"slug":51331,"title":51332,"dynasty":18,"author":278,"museum":311,"description":51333,"tags":51334,"thumbUrl":51336,"material":139,"size":139,"collection":139,"collections":51337,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227881,"tong-yin-wan-yue-tu-ye-yi-ming-227881","桐荫玩月图页","此作以工致笔触铺陈出夏夜闲游的雅景。界笔精谨绘就深宅错落屋宇，窗牖梁枋皆细致入微，尽显宅邸雅致规制。虬劲梧桐亭亭如盖，枝叶扶苏间筛下朦胧月色，晕开夏夜清宁。\n\n廊下雅客围坐把盏，清谈消暑，尽是松弛意态；阶前仕女凭栏凝睇，似浸在月色里漫思幽怀，阶下仆役垂首静立，衬出宅邸的安闲氛围。淡墨晕开暮色，草木柔润晕染，将宋人士族日常宴游的闲雅意趣藏进方寸之间，把玩月的悠然诗意刻画尽致，尽显宋人刻入日常的雅致慢调。",[7,23,209,28,27,104,106,59,107,285,866,115,1434,51335,284],"石盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff31f6caa12baf6d4b5085cfd27df4b4.jpg",[],{"id":51339,"slug":51340,"title":51341,"dynasty":18,"author":278,"museum":311,"description":51342,"tags":51343,"thumbUrl":51344,"material":139,"size":139,"collection":139,"collections":51345,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","春江帆饱图页","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[7,23,24,4850,173,27,177,29,6868,1755,34,176,1265,44476,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":51347,"slug":51348,"title":51349,"dynasty":18,"author":278,"museum":311,"description":51350,"tags":51351,"thumbUrl":51353,"material":139,"size":139,"collection":139,"collections":51354,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},227852,"shan-dian-feng-lian-tu-ye-yi-ming-227852","山店风帘图页","此帧水墨小品以边角取景，于尺幅间铺展幽寂冬日山居。嶙峋崖石以斧劈皴利落勾勒，苍劲笔墨写出硬质肌理，枯木虬枝弯折古拙，尽显萧寒之态。山坳间的野店隐于林泉，淡墨晕染的远峰裹挟烟岚，朦胧悠远。画师以简淡洗练的笔法拉开远近层次，留白空灵清旷，将山野间荒寒冷寂的氛围渲染尽致，暗含着文人士大夫心向往之的静穆淡远林下幽思，尽显以小见大、以景寄情的隽永意趣。",[7,23,24,81,173,27,29,177,178,263,734,558,34,114,51352],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d24dc4618a7f329647a52ced4edb35.jpg",[],{"id":51356,"slug":51357,"title":51358,"dynasty":18,"author":323,"museum":311,"description":51359,"tags":51360,"thumbUrl":51361,"material":139,"size":139,"collection":139,"collections":51362,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},227595,"song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227595","送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。",[7,86,178,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3ee6efaf6a6bc07864e1e94e0d9ef0e.jpg",[],{"id":51364,"slug":51365,"title":51366,"dynasty":18,"author":746,"museum":311,"description":51367,"tags":51368,"thumbUrl":51369,"material":139,"size":139,"collection":139,"collections":51370,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},227506,"ci-bian-cai-yun-shi-su-shi-227506","次辩才韵诗","《次辩才韵诗帖》这件作品写于苏轼被放杭州一年之后。这一年，苏轼在西湖上修筑了南北长堤，便是后人称颂至今的“苏堤”。辩才是苏轼的一位僧人诗友，他的这幅作品就是盛赞辩才老师超然物外、仙风道骨，自己与辩才能二老同游，当是人生幸事。大千世界，一切有法，且如是观之。作品落笔沉着、从容，已没有十年前书写《黄州寒食诗帖》时的激宕，墨色浓重却透着清雅之气，丰腴浑厚仍有秀逸之质。",[7,1004,86,178,23,24,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde73bd160d54e4ef7de788179945ba55.jpg",[],{"id":51372,"slug":51373,"title":51374,"dynasty":18,"author":746,"museum":311,"description":45296,"tags":51375,"thumbUrl":51376,"material":139,"size":139,"collection":139,"collections":51377,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},227499,"song-si-jia-chi-du-su-shi-227499","宋四家尺牍－",[7,86,178,2403,37433,263,8289,7330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc6353cbfb4d1adc7fb04a91c01ed60.jpg",[],{"id":51379,"slug":51380,"title":26037,"dynasty":18,"author":278,"museum":311,"description":51381,"tags":51382,"thumbUrl":51383,"material":139,"size":139,"collection":139,"collections":51384,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227393,"gao-shi-guan-pu-tu-yi-ming-227393","此画为宋离、唐所画，无据可查，但整体画面陡峭优美。 在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 溪流的一角，两位高手俯视着飞泉，神采飞扬，神情陶醉。",[7,209,23,24,27,177,29,106,226,466,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9400dc5e0fc602c5191a698fc5fa38.jpg",[],{"id":51386,"slug":51387,"title":51388,"dynasty":18,"author":278,"museum":311,"description":51389,"tags":51390,"thumbUrl":51391,"material":139,"size":139,"collection":139,"collections":51392,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[7,209,23,24,4850,27,29,177,106,466,34,558,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":51394,"slug":51395,"title":51396,"dynasty":18,"author":278,"museum":311,"description":51397,"tags":51398,"thumbUrl":51399,"material":139,"size":139,"collection":139,"collections":51400,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227361,"lou-guan-sha-ting-chui-diao-tu-yi-ming-227361","楼观沙汀垂钓图","在文人画里，一切都在情不自禁地轻轻飘动着。宋画是广阔的，岂止在视觉感受上，从题材、内容到形式都在自由组合中与审美达成了会心一笑似的默契和经典。宋画是现实的，就像刚刚从老庄的思想里走出，又误入了风景或花鸟的旋律。",[7,23,24,225,27,29,106,28,177,174,1542,266,176,25424,109,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437e8c42c3072d6bf3d4366c3df1f44c.jpg",[],{"id":51402,"slug":51403,"title":26114,"dynasty":54,"author":278,"museum":311,"description":51404,"tags":51405,"thumbUrl":51406,"material":139,"size":139,"collection":139,"collections":51407,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227129,"gong-yuan-tu-juan-yi-ming-227129","《宫苑图》绘青山碧水之间，殿宇壮丽巍峨、行人络绎不绝的繁华盛景。画面以潺潺流水串联起星罗棋布的亭台楼阁，营造出一座精致华美的山水之城。该图“青绿为质，金碧为文”的笔法特色，以及在处理景物关系时的娴熟技巧，都是了解中国古代宫苑画如何走向成熟的重要参考。",[7,23,24,25,27,104,28,29,107,108,109,106,1087],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb131de98f8b7428d587a3235aa38356b.jpg",[],{"id":51409,"slug":51410,"title":51411,"dynasty":76,"author":21699,"museum":311,"description":51412,"tags":51413,"thumbUrl":51414,"material":139,"size":139,"collection":139,"collections":51415,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":4391},226627,"shu-fa-shan-mian-pu-ru-226627","书法扇面","溥儒 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ht":48,"mainColor":49},222628,"qiu-kui-huang-shen-222628","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。",[7,23,27,83,81,84,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2d3d35648681b608bad9800279f0f3d.jpg","29.5x36.6",[],{"id":51720,"slug":51721,"title":51722,"dynasty":99,"author":51723,"museum":101,"description":51724,"tags":51725,"thumbUrl":51726,"material":67,"size":51727,"collection":181,"collections":51728,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},222575,"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[7,23,24,1352,27,29,402,174,1365,770,1265,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[181],{"id":51730,"slug":51731,"title":51732,"dynasty":99,"author":31173,"museum":311,"description":31175,"tags":51733,"thumbUrl":51734,"material":139,"size":51735,"collection":328,"collections":51736,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},222530,"lin-zhe-mo-lan-ting-wang-duo-222530","临禇摹兰亭",[7,24,86,105,178,263,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b795d3b808e6c26621b5a3f414c8d4.jpg","44X144",[328],{"id":51738,"slug":51739,"title":5779,"dynasty":99,"author":7174,"museum":311,"description":51740,"tags":51741,"thumbUrl":51742,"material":139,"size":139,"collection":328,"collections":51743,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},222473,"shou-juan-zhu-yun-ming-222473","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[7,209,23,24,25,2570,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123665fbab9a322e70bef1c799c376a3.jpg",[328],{"id":51745,"slug":51746,"title":51747,"dynasty":99,"author":18003,"museum":206,"description":18004,"tags":51748,"thumbUrl":51749,"material":699,"size":18007,"collection":139,"collections":51750,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},222440,"hua-die-cao-chong-8-du-da-cheng-222440","花蝶草虫8",[7,23,173,28,244,83,511,512,940,62,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3482b99c9a114f587fe2de4568df48a7.jpg",[],{"id":51752,"slug":51753,"title":51754,"dynasty":99,"author":18003,"museum":206,"description":18004,"tags":51755,"thumbUrl":51756,"material":699,"size":18007,"collection":139,"collections":51757,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},222436,"hua-die-cao-chong-3-du-da-cheng-222436","花蝶草虫3",[7,23,24,173,28,244,83,511,512,62,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a347739aaed6c58c2cf28ca8269f81.jpg",[],{"id":51759,"slug":51760,"title":3628,"dynasty":99,"author":16216,"museum":20,"description":51761,"tags":51762,"thumbUrl":51763,"material":5862,"size":51764,"collection":139,"collections":51765,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},222429,"shan-shui-tu-li-zhou-li-yong-chang-222429","李永昌（生卒年不详），主要活动于明崇祯元年戊辰(公元1628年)至清顺治元年甲申(公元1644年)之司。字周生，号黄海。休宁皂荚树下村人。家境殷实，多藏古物；游历甚广，善于书画。诗亦超迈，著有《画响姜绍书》、《无声诗史》赞其音调清越，阐扬画理与董其昌齐名，是新安四家汪之瑞的老师。画近宗黄子久，远追董巨、二米等南宋诸家，善用董巨山势结构结合米点铺染，并能将沈周的雄浑劲厚和倪瓒的逸笔草草演绎为墨法沉重、生气勃勃的特质。",[7,23,173,177,225,29,734,282,384,175,558,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714cf7213aa4d3425ff5eb21e577c96b.jpg","101x 46.3",[],{"id":51767,"slug":51768,"title":51769,"dynasty":99,"author":26038,"museum":101,"description":51770,"tags":51771,"thumbUrl":51772,"material":67,"size":51773,"collection":139,"collections":51774,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},222390,"shan-shui-liu-ce-he-juan-sheng-mao-ye-222390","山水六册合卷","盛茂烨，明代画家，长洲（今江苏苏州）人。善山水、人物，笔力雄健，烘染精到，好作长林叠嶂巍峨险峻之景，有烟林清旷之概。\n此册六开，因藏于海外，国内学者较少提及，无论是用笔、用墨还是构图、气韵，其独特的艺术风格都表现出一流的大家风范。",[7,23,173,27,81,25,177,29,108,109,174,866,4970,107,106,263,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d02a1e0c9772dc5dacd3bbddaec7765.jpg","28.6 x 30.5",[],{"id":51776,"slug":51777,"title":51778,"dynasty":99,"author":38569,"museum":311,"description":51779,"tags":51780,"thumbUrl":51781,"material":620,"size":51782,"collection":139,"collections":51783,"showCount":628,"zanCount":2209,"manualWeight":48,"mainColor":629},222368,"yu-ri-ren-shu-tie-wang-shou-ren-222368","与日仁书帖","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。\n明宪宗成化八年（1472年），王守仁出生于浙江绍兴府余姚县一个显赫的家庭，父亲王华是成化十七年（1481年）状元，官至南京吏部尚书。\n王守仁天生有特殊的气质。他的母亲怀孕十四个月才分娩，在他诞生之前，他的祖母梦见天神衣绯玉，云中鼓吹，抱一赤子，从天而降，祖父遂为他取名为“云”，并给他居住的地方起名为“瑞云楼”。\n王守仁5岁仍不会说话，但已默记祖父所读过的书。有一高僧过其家，摸着他的头说“好个孩儿，可惜道破。”祖父根据《论语·卫灵公》所云“知及之，仁不能守之，虽得之，必失之”，为他改名为“守仁”，随后他就开口说话了。 他的父亲王华喜爱绍兴的山水，才举家离开余姚，移居绍兴。幼年的王守仁，有着良好的家世，也因此拥有一个非常优越的学习环境。\n十二岁时，王守仁正式就读书塾。十三岁，母亲郑氏去世，幼年失恃，这对他来说是一个很大的挫折。但他志存高远，心思不同常人。一次与书塾先生讨论何为天下最要紧之事，他就不同凡俗，认为“科举并非第一等要紧事”，天下最要紧的是读书做一个圣贤的人。当时国家朝政腐败，义军四起。英宗正统年间，英宗被蒙古瓦剌部所俘。这件事情在王守仁幼小的心中投下了巨大的阴影。他发誓一定要学好兵法，为国效忠。十五岁时就屡次上书皇帝，献策平定农民起义，未果。同年，他出游居庸关、山海关一月之久，纵观塞外，那时已经有经略四方之志。\n弘治元年（1488年），王守仁十七岁时，他到南昌与诸养和之女诸氏成婚，可在结婚的当天，大家都找不到他。原来这天他闲逛中遇见一道士在那里打坐，他就向道士请教，道士给他讲了一回养生术，他便与道士相对静坐忘归，直到第二天岳父才把他找回去 。\n弘治二年（1489年），王守仁十八岁时，与夫人诸氏返回余姚，船过广信，王守仁拜谒娄谅。娄谅向他讲授“格物致知”之学，王守仁甚喜。之后他遍读朱熹的著作，思考宋儒所谓“物有表里精粗，一草一木皆具至理”的学说。为了实践朱熹的“格物致知”，有一次他下决心穷竹之理，“格”了七天七夜的竹子，什么都没有发现，人却因此病倒。从此，王守仁对“格物”学说产生了极大的怀疑，这就是中国哲学史上著名的“守仁格竹”。",[7,939,86,620,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a621a4ea04ceed4b7314b3c371ac0de.jpg","29.53×76.2cm",[],{"id":51785,"slug":51786,"title":19444,"dynasty":99,"author":38517,"museum":56,"description":51787,"tags":51788,"thumbUrl":51789,"material":1271,"size":51790,"collection":139,"collections":51791,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},222063,"shui-xian-tu-zhou-tian-qiu-222063","此图细笔微染出花朵和浓淡墨钩出的花叶，突出阴阳向背，表现动的变化。双钩竹和飞白石兼具元人简逸之韵致，承宋之余绪而又不失字家格调。历代画家多用水仙象征高洁，寓意作者的孤傲品格和入泥不染的意志。",[7,23,24,209,25,244,173,405,229,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385efbfd3ac4bd968584f474eb574eee.jpg","33.5x858.1cm",[],{"id":51793,"slug":51794,"title":51795,"dynasty":99,"author":11163,"museum":311,"description":51796,"tags":51797,"thumbUrl":51798,"material":699,"size":51799,"collection":139,"collections":51800,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},222023,"chuan-shan-tu-wen-jia-222023","船山图","文嘉擅山水，似倪瓒，着色山水幽雅恬淡。兼能花卉。",[7,23,29,173,177,866,734,282,174,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710b91f69a768b839f2b227ce220d971.jpg","30x72cm",[],{"id":51802,"slug":51803,"title":51804,"dynasty":99,"author":817,"museum":78,"description":51805,"tags":51806,"thumbUrl":51807,"material":699,"size":51808,"collection":328,"collections":51809,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},222011,"qi-lv-shi-zi-chen-chao-xia-xi-ling-si-wen-zheng-ming-222011","七律诗紫宸朝下锡灵丝","释文：紫宸朝下锡灵丝，金水桥边拜命时。文绣自天腾五色，光华约臂结双螭。重惭潦倒随恩泽，还忝班行覩盛仪。愿得君王千万寿，日华常照衣垂。",[7,225,622,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aedd5b1f44b8115a589c2a4d9a452b.jpg","122x59cm",[328],{"id":51811,"slug":51812,"title":51813,"dynasty":99,"author":51814,"museum":101,"description":51815,"tags":51816,"thumbUrl":51817,"material":12282,"size":51818,"collection":139,"collections":51819,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},221920,"xi-ma-tu-ce-ye-lu-qing-221920","洗马图册页","陆青","陆青 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26.3×29.4公分",[44],{"id":51962,"slug":51963,"title":51964,"dynasty":99,"author":16949,"museum":20,"description":51965,"tags":51966,"thumbUrl":51967,"material":123,"size":51968,"collection":181,"collections":51969,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},219218,"yun-yan-jia-sheng-tu-wen-bo-ren-219218","云岩佳胜图","该图描绘虎丘山云岩寺实景，从二山门、千人石、双吊桶、剑池、石桥直到山顶的佛阁和虎丘塔都一一收入画面。作品以写生为基础，捕捉住虎丘山的特征，表现出吴门画风。",[7,23,24,25,29,27,173,177,178,86,263,107,176,34,175,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5658b5730929f9dfde87aa2dd8229ce8.jpg","纵31.1cm，横63.6cm",[181],{"id":51971,"slug":51972,"title":51973,"dynasty":189,"author":9788,"museum":206,"description":51974,"tags":51975,"thumbUrl":51976,"material":123,"size":10625,"collection":139,"collections":51977,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},219117,"hua-hui-ce-hua-die-qing-ting-wang-yuan-219117","花卉册-花蝶蜻蜓","浅赭底色如晕开的旧墨笺，铺展一方清宁小景。蜻蜓振翅悬停，薄翼以细劲线条勾勒，似笼着晨雾的纱，复眼点染灵动；两只粉蝶栖于花侧，翅脉轻描，姿态悠然。下方花卉枝叶交错，花瓣淡彩晕染，紫蕊黄瓣相映成趣，叶片墨色浓淡有致，藏着自然生趣。整幅画工写相济，不刻意炫技，却于细微处见匠心，将草木虫豸的闲雅之态凝于尺幅。似能闻花间轻响，触风里软意，是元人笔下独有的清逸温婉，把寻常小景酿成了耐品的诗意。",[7,209,23,24,81,27,28,83,84,512,696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3377cf4cbdf594fdf0f04f0c249d8ce.jpg",[],{"id":51979,"slug":51980,"title":51981,"dynasty":76,"author":51982,"museum":132,"description":51983,"tags":51984,"thumbUrl":51985,"material":123,"size":51986,"collection":90,"collections":51987,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},218977,"qun-yan-tu-chen-bi-218977","群雁图","陈璧","秋水澹澹，苇丛轻曳于汀洲岸际。群雁数只振翅掠空，姿态翩跹；或有三两栖落浅滩，或卧或立，野趣盎然。淡墨晕染远山，层峦隐现于薄雾间，添几分悠远；细笔勾勒苇叶，疏朗有致，与沙洲相映成趣。水面波光粼粼，似泛清浅凉意。整幅画面清寂中透着灵动，仿佛能闻雁鸣划破长空，观秋水悠悠流淌，尽显自然之恬淡生机，笔墨间藏着对野逸之境的脉脉向往。",[7,23,24,225,173,28,29,266,226,3899,31,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2514624d49b9f3a956ef4f223e883ba.jpg","71.7x33cm",[90],{"id":51989,"slug":51990,"title":51991,"dynasty":18,"author":278,"museum":206,"description":51992,"tags":51993,"thumbUrl":51994,"material":123,"size":51995,"collection":181,"collections":51996,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},218890,"shu-lin-ye-zhang-tu-yi-ming-218890","疏林曳杖图","这是对郭熙山水的模仿，只是笔法略显草率，可能是元代的作品。",[7,23,24,209,173,27,29,177,5614,176,106,1265,1267,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0484004fdf547cfb6952e361a78c340d.jpg","24.7x23.5",[181],{"id":51998,"slug":51999,"title":52000,"dynasty":18,"author":278,"museum":206,"description":52001,"tags":52002,"thumbUrl":52003,"material":123,"size":52004,"collection":181,"collections":52005,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},218816,"xi-qiao-gu-si-tu-yi-ming-218816","溪桥古寺图","这幅画描绘了一座隐藏在深山中的古寺，有一座连接山涧的危桥。原作没有标记，但仔细看画风就会发现它属于李唐和萧照的画派。",[7,23,24,1352,27,29,177,30267,28165,176,34,1265,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9365706aca0f6b75e3edd136c54eef45.jpg","24.6x24.3",[181],{"id":52007,"slug":52008,"title":52009,"dynasty":18,"author":278,"museum":206,"description":52010,"tags":52011,"thumbUrl":52012,"material":123,"size":52013,"collection":44,"collections":52014,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},218803,"li-tie-guai-mo-jian-tu-yi-ming-218803","李铁拐磨剑图","画中的人物头发凌乱，满脸胡须，衣服破烂，赤脚，肌肉发达，在海滩上的一块凸起的石头上磨剑。滚动的海浪，加上松树和滚动的云朵，是画面的焦点。这幅画的原题是 周帝打醮，但从人物旁边的手杖来看，这幅画描绘的是道教传说中的八仙之一的李铁拐。传说他是一个魁梧的人，在成为不朽的人之后，被赋予了一个饥饿的人的身体，因此他的外表很丑陋。明朝的一位宫廷画师也制作了类似的图像，用来驱除邪灵。",[7,209,23,24,81,28,244,27,106,1365,176,435,14226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1584d50aced77bd7bb3f19029177fc.jpg","23.9x21",[44],{"id":52016,"slug":52017,"title":52018,"dynasty":18,"author":278,"museum":206,"description":52019,"tags":52020,"thumbUrl":52021,"material":123,"size":52022,"collection":181,"collections":52023,"showCount":628,"zanCount":2209,"manualWeight":48,"mainColor":94},218704,"he-ting-shui-ge-tu-yi-ming-218704","荷汀水阁图","一个有学问的人在水榭里看荷花，一个渔夫在沙滩上扭动渔网。远处的山和湖各占一半，使画面平静而清晰。笔法是夏圭的遗产，所以这可能是一位大师的作品。",[7,23,209,24,81,173,177,29,107,24872,136,282,34,1265,1617,6350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60861a88d925828376c2dde8d09dbee.jpg","22.9x23.6",[181],{"id":52025,"slug":52026,"title":52027,"dynasty":99,"author":16949,"museum":206,"description":52028,"tags":52029,"thumbUrl":52030,"material":123,"size":52031,"collection":44,"collections":52032,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},218263,"yang-ji-jing-xiao-xiang-juan-wen-bo-ren-218263","杨季静小像卷","这幅画作于文伯仁24岁时（1526年，嘉靖五年），可能是他现存最早的纪年画，也是他唯一的一幅人物画。画中的主人公杨季静（1504-1530年之前）是苏州有名的琴师，与文征明等人关系友好，所以文博仁有机会为他画了一幅小肖像。",[7,23,24,25,173,27,106,210,86,263,178,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158b55ad0eb5f9db452582a9d910d80a.jpg","29.1x23.9",[44],{"id":52034,"slug":52035,"title":52036,"dynasty":189,"author":9788,"museum":206,"description":52037,"tags":52038,"thumbUrl":52039,"material":123,"size":10625,"collection":139,"collections":52040,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},216754,"hua-hui-ce-shui-xian-wang-yuan-216754","花卉册-水仙","水仙攒簇，瓣白蕊黄，纤叶劲挺如剑，兼具水墨苍劲与工笔细腻。一只粉蝶翩跹于侧，翅翼轻颤似欲落，为静穆画面添几分生动意趣。背景淡赭铺陈，衬以深青墨块，虚实相生间更显花姿孤洁。笔墨兼工带写，花叶勾勒精准却不失灵动，古雅设色与简淡构图暗合文人清逸之思。整幅画于细微处见匠心，清雅空灵如沐春风，尽显花木自然神韵与画者笔墨情致，寥寥数笔便将水仙的孤高与生机凝于尺幅之间。",[7,23,24,81,27,83,405,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61e07edb91f812267058fdf2d606136.jpg",[],{"id":52042,"slug":52043,"title":52044,"dynasty":76,"author":14907,"museum":311,"description":14908,"tags":52045,"thumbUrl":52046,"material":88,"size":139,"collection":139,"collections":52047,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},215106,"tui-bei-tu-ce-2-jiao-bing-zhen-215106","推背图册-2",[7,23,24,81,1163,10998,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F808131567d33e7a24f8462752a3b7f40.jpg",[],{"id":52049,"slug":52050,"title":52051,"dynasty":54,"author":8342,"museum":20,"description":8343,"tags":52052,"thumbUrl":52053,"material":409,"size":8346,"collection":139,"collections":52054,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},214510,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-4-ou-yang-xun-214510","宋拓唐虞恭公温彦博碑-4",[7,621,620,622,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726e38a8def864bba39d98d5be2a3c98.jpg",[],{"id":52056,"slug":52057,"title":18186,"dynasty":76,"author":1047,"museum":132,"description":52058,"tags":52059,"thumbUrl":52060,"material":409,"size":139,"collection":139,"collections":52061,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":94},214391,"shan-shui-tu-ce-7-zhu-da-214391","淡墨皴染的山峦线条如篆般凝练，丘壑间藏着远意。疏枝横斜，墨色浓淡交织出枯荣之态，似在风中低语清愁。山间屋舍隐现，似有烟火却又疏离，与冷寂景致相融。画面简而不空，虚实处见真意，笔墨间凝着孤高遗世的心境。留白处似有风过，拂过山水也撩动思绪。每一笔浑然天成，将深藏的孤寂与超脱化作纸上清辉，引人沉入这简淡却深沉的意境，触摸那份无声的倾诉。墨韵里的枯荣、景致中的疏离，皆成心迹的写照，让观画者在简淡中读懂那份超脱尘俗的孤高与清愁。",[7,23,173,81,177,29,384,385,17462,1423,866,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad63b7cc181b0c3145c798fa4c811082.jpg",[],{"id":52063,"slug":52064,"title":52065,"dynasty":76,"author":278,"museum":7233,"description":7234,"tags":52066,"thumbUrl":52068,"material":123,"size":7237,"collection":139,"collections":52069,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},214335,"da-bei-shen-zhou-fo-xiang-3-yi-ming-214335","大悲神咒佛像-3",[7,23,24,27,28,243,106,81,7385,52067,436,246,1554],"神咒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675029d17e74ae020b3464aadad3b83c.jpg",[],{"id":52071,"slug":52072,"title":52073,"dynasty":99,"author":2494,"museum":78,"description":52074,"tags":52075,"thumbUrl":52076,"material":139,"size":139,"collection":181,"collections":52077,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":52078},203466,"xiao-jing-ba-fu-ce-dong-qi-chang-203466","小景八幅册","董其昌此册页小景，笔墨兼具南北宗之妙。左幅水墨疏朗，山石以披麻皴写就，线条清劲秀逸，平远构图中村落隐现，意境空灵悠远；右幅设色淡雅，红绿点染秋叶，树木姿态古拙，山石结构简括，自然生机与文人简淡相融。画面以书入画，笔墨韵律天成，小景中见大格局，尽显晚明文人画的空灵雅韵，是其“以画为乐”理念的生动体现。",[7,23,24,81,173,27,177,2352,29,176,34,35,1265,3710,109,4012,1365,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fe7ab7651450e8bb454fd86615685e.jpg",[181],"c1bcb3",{"id":52080,"slug":52081,"title":52082,"dynasty":99,"author":17700,"museum":78,"description":52083,"tags":52084,"thumbUrl":52085,"material":139,"size":139,"collection":181,"collections":52086,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":52087},203439,"chang-xi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周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[7,23,106,27,866,29,21044,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9ce9b5b5499701d91ac08f9b00b615.jpg",[],{"id":52258,"slug":52259,"title":52260,"dynasty":99,"author":936,"museum":311,"description":9950,"tags":52261,"thumbUrl":52264,"material":2164,"size":2165,"collection":139,"collections":52265,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},289798,"jin-jue-tu-chen-hong-shou-289798","晋爵图",[7,23,25,27,106,28,4304,52262,52263],"礼仪场景","晋爵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82160bb3618d62d00e8abd0db51bf9c.jpg",[],{"id":52267,"slug":52268,"title":52269,"dynasty":18,"author":676,"museum":311,"description":10466,"tags":52270,"thumbUrl":52271,"material":2164,"size":2165,"collection":139,"collections":52272,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},289785,"wei-lin-tu-li-gong-lin-289785","为霖图",[7,23,209,225,27,106,433,8436,226,2159,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc01ffe90059e930920b1b9f4c50149.jpg",[],{"id":52274,"slug":52275,"title":999,"dynasty":18,"author":1395,"museum":311,"description":17923,"tags":52276,"thumbUrl":52277,"material":2164,"size":2165,"collection":139,"collections":52278,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},289226,"mu-niu-tu-li-tang-289226",[7,23,209,1352,173,151,106,866,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2bdd190ae6f5953eca07721acf56ac.jpg",[],{"id":52280,"slug":52281,"title":20947,"dynasty":189,"author":1539,"museum":311,"description":52282,"tags":52283,"thumbUrl":52284,"material":2164,"size":2165,"collection":139,"collections":52285,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},289012,"jia-he-ba-jing-tu-wu-zhen-289012","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。",[7,209,23,25,24,173,29,1265,107,108,109,175,266,35,34,86,263,178,2570,34007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fc8353ae0102fb4a9641a461d079bf.jpg",[],{"id":52287,"slug":52288,"title":52289,"dynasty":76,"author":26151,"museum":311,"description":40612,"tags":52290,"thumbUrl":52291,"material":2164,"size":2165,"collection":139,"collections":52292,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},288497,"gu-mu-shuang-yun-tu-li-zhou-luo-pin-288497","古木霜筠图立轴",[7,23,225,173,5174,226,1724,2694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc00bc26a94365cbfda370a4bf0b7af.jpg",[],{"id":52294,"slug":52295,"title":52296,"dynasty":76,"author":2214,"museum":311,"description":24609,"tags":52297,"thumbUrl":52299,"material":2164,"size":2165,"collection":139,"collections":52300,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":255},288382,"di-er-hui-jia-fu-ren-xian-shi-yang-zhou-cheng-leng-zi-xing-yan-sun-wen-288382","第二回 贾夫人仙逝扬州城 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，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[7,23,225,29,27,106,866,109,558,403,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3fa328298498dc290bc922f3fbf306.jpg",[],{"id":52357,"slug":52358,"title":1238,"dynasty":76,"author":5585,"museum":311,"description":35667,"tags":52359,"thumbUrl":52360,"material":2164,"size":2165,"collection":139,"collections":52361,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},288028,"mu-dan-tu-gao-feng-han-288028",[7,23,209,24,225,173,27,83,369,229,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3480b82813f3e74b11e99c7467ce72.jpg",[],{"id":52363,"slug":52364,"title":52365,"dynasty":76,"author":522,"museum":311,"description":50863,"tags":52366,"thumbUrl":52367,"material":2164,"size":2165,"collection":139,"collections":52368,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},288022,"ren-wu-shan-shui-tu-li-zhou-huang-shen-288022","人物山水图立轴",[7,23,225,173,106,29,866,229,109,210,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68e29611b387c6a662fb3dbadc9ec9a.jpg",[],{"id":52370,"slug":52371,"title":49937,"dynasty":99,"author":278,"museum":311,"description":52372,"tags":52373,"thumbUrl":52374,"material":2164,"size":2165,"collection":139,"collections":52375,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},287952,"fang-li-tang-hao-pu-tu-juan-yi-ming-287952","此作用笔追摹北宗风骨，取景溪山幽隅。左岸危岩崚嶒，古木盘根错结于石罅，虬曲苍劲，枝叶攒簇如盖；右岸林樾荫蔽，二雅士临流趺坐，静听溪声、观览山光。\n山石以斧劈皴挥写，方硬利落，尽显岩壑沉厚质感；水纹细劲萦回，状摹出溪涧清浅潺湲之态。整幅以古雅底色衬出林泉幽寂，将文人寄情山水的闲淡襟怀，融于雄健笔墨之中，萧散出尘，兼具雄浑骨力与幽远意境。",[7,23,25,1218,27,177,176,468,9889,1112,3723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f11da397377cad1cc1e22134625497e.jpg",[],{"id":52377,"slug":52378,"title":52379,"dynasty":99,"author":278,"museum":311,"description":52380,"tags":52381,"thumbUrl":52385,"material":2164,"size":2165,"collection":139,"collections":52386,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},287862,"zui-ba-xian-tu-juan-yi-ming-287862","醉八仙图卷","此作以群仙醉态为骨，将八仙酣饮忘形之姿铺陈于卷：有人挥袖踉跄、醉舞不休，有人凭石颓坐、醺然欲眠，亦有二人相顾喟叹，将酒中疏狂放达描摹得淋漓尽致。衣纹线条圆劲流转，古雅沉厚设色带着唐风余韵，把仙人纵酒忘情、脱略形骸的逍遥意态尽数铺展。后拖题跋墨色苍润，诗画相映，衬出长卷林下高致，将酒中仙人们沉醉忘机、寄兴林泉的风流雅趣刻画得入木三分，是兼具笔墨意趣与传神功力的精妙之作。",[7,209,23,25,27,2158,52382,52383,1640,86,52384,176,1647],"醉八仙","醉酒","酣醉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba07776ca72d646182cec9a7a2c09a7e.jpg",[],{"id":52388,"slug":52389,"title":24041,"dynasty":99,"author":28316,"museum":311,"description":52390,"tags":52391,"thumbUrl":52392,"material":2164,"size":2165,"collection":139,"collections":52393,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},287861,"shan-shui-tu-ye-zhang-hong-287861","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[7,209,23,29,109,557,34,177,27,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda5fe75184c121f92c524d109737692.jpg",[],{"id":52395,"slug":52396,"title":52397,"dynasty":99,"author":10349,"museum":311,"description":43639,"tags":52398,"thumbUrl":52399,"material":2164,"size":2165,"collection":139,"collections":52400,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},287778,"si-shi-shan-shui-zhi-dong-jing-wu-wei-287778","四时山水之冬景",[7,23,173,29,225,17829,865,176,106,150,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f9a530c4bb5dddcfe3b8cffba615fb.jpg",[],{"id":52402,"slug":52403,"title":52404,"dynasty":18,"author":676,"museum":311,"description":10466,"tags":52405,"thumbUrl":52407,"material":2164,"size":2165,"collection":139,"collections":52408,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},287737,"bai-miao-luo-han-tu-juan-qun-xian-du-hai-li-gong-lin-287737","白描罗汉图卷(群仙渡海)",[7,209,23,25,244,106,243,18311,22594,86,263,52406,3191,37],"仙佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9353d739f26f03383d099ee1c6984e1.jpg",[],{"id":52410,"slug":52411,"title":52412,"dynasty":54,"author":37654,"museum":311,"description":37655,"tags":52413,"thumbUrl":52414,"material":2164,"size":2165,"collection":139,"collections":52415,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},287655,"da-bei-guan-yin-xiang-fan-qiong-287655","大悲观音像",[7,23,225,243,8567,1553,37657,106,27,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b42f9f736fddde6f0f7b4f621a3b2d.jpg",[],{"id":52417,"slug":52418,"title":3067,"dynasty":189,"author":645,"museum":311,"description":52419,"tags":52420,"thumbUrl":52421,"material":2164,"size":2165,"collection":139,"collections":52422,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},287409,"luo-shen-fu-zhao-meng-fu-287409","《洛神赋》用笔精纯、圆润，结体严谨、遒媚，章法平和、潇洒。赵孟頫师法“二王”，得其笔法，又结合自身的特点，其行书呈现出清俊、典雅之风，《洛神赋》亦是将他的审美理想呈现得淋漓尽致。在《洛神赋》中，“中和”之美充斥全篇，对后世书法艺术事业的发展影响深远。",[7,86,178,622,263,15089,2159],"https:\u002F\u002Foss.chuangqi.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“此赵文敏(孟頫)学颜鲁公(真卿)《送蔡明远叙》兼米海岳(芾)用笔，迥异平日之作”，说明此卷兼有唐代颜真卿及宋代米芾笔意，不同于赵氏的其它墨迹。",[7,209,23,24,25,178,86,263,173,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c170d3ec939624a8380812c02f2b52.jpg","27厘米x456.3厘米",[328],{"id":52466,"slug":52467,"title":52468,"dynasty":189,"author":52469,"museum":20,"description":52470,"tags":52471,"thumbUrl":52472,"material":5507,"size":52473,"collection":328,"collections":52474,"showCount":480,"zanCount":1337,"manualWeight":48,"mainColor":94},239657,"shao-zhi-shui-shi-juan-lu-ju-ren-239657","苕之水诗卷","陆居仁","《苕之水诗》卷释文\n卷前钤陆氏“云间”、“幽谷一叟”印2方；卷末钤陆氏 “宅山”、“陆氏居仁”、“静寿山”、“卧松亭”、“寄寄轩”款印5方。鉴藏印以项元汴、卞永誉、安岐三家最多，并有项氏“意字号”编号。\n《苕之水诗》卷书七言古诗一首，赞扬笔工陆文俊所制毛笔精良耐用，夺造化之功。据自署年款，此卷书于明洪武四年辛亥（1371年），是陆居仁晚年的草书精品。书法飘逸苍秀，得张旭、怀素、孙过庭遗意。\n后幅有元代张枢楷书次韵陆诗并记，乃张枢传世名迹。又有元代陈朴题跋、袁凯题诗各一段。\n此卷曾经清代乾隆内府、宣统内府收藏。",[7,86,2570,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf9d630c01a023eb1170d1e0a54a344.jpg","纵28.2厘米，横130.7厘米",[328],{"id":52476,"slug":52477,"title":52478,"dynasty":76,"author":35366,"museum":311,"description":36487,"tags":52479,"thumbUrl":52480,"material":139,"size":139,"collection":45,"collections":52481,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":255},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-tu-juan-hong-wu-239381","弘旿廓尔喀进象马图卷",[7,23,24,25,27,29,28,106,150,11053,34,176,37,35,468,263,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[45],{"id":52483,"slug":52484,"title":4479,"dynasty":76,"author":42671,"museum":311,"description":42672,"tags":52485,"thumbUrl":52486,"material":2164,"size":2165,"collection":139,"collections":52487,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},235464,"hua-hui-tu-ce-fan-ting-zhen-235464",[7,23,27,28,81,83,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0188ca5f83dbb6758bf03cb420c57b6f.jpg",[],{"id":52489,"slug":52490,"title":52491,"dynasty":99,"author":52492,"museum":311,"description":52493,"tags":52494,"thumbUrl":52495,"material":139,"size":139,"collection":139,"collections":52496,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[7,23,24,25,173,244,83,402,406,226,407,227,369,404,691,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":52498,"slug":52499,"title":52500,"dynasty":99,"author":5391,"museum":311,"description":52501,"tags":52502,"thumbUrl":52503,"material":139,"size":139,"collection":139,"collections":52504,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[7,209,23,24,25,86,178,173,177,29,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":52506,"slug":52507,"title":52508,"dynasty":99,"author":817,"museum":311,"description":52509,"tags":52510,"thumbUrl":52511,"material":139,"size":139,"collection":139,"collections":52512,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。 [1]\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[7,23,24,25,173,178,86,263,29,106,108,109,175,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":52514,"slug":52515,"title":49746,"dynasty":99,"author":19955,"museum":20,"description":52516,"tags":52517,"thumbUrl":52518,"material":699,"size":139,"collection":139,"collections":52519,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},234161,"luo-han-juan-li-lin-234161","李麟（1558—？），字次公，四阴（今浙江宁波）人，明朝画家。\n李麟善白描，作佛像下笔如莼条，用焦墨而不觉其枯，眉目粗而不觉其重。尤长写貌，亦以焦墨粗钩为之。师丁南羽（云鹏）有出蓝之誉。自署龙眠后身，崇祯八年（1635）尝写文殊维摩图，时年七十八。又有参寥子像卷，现藏故宫博物院。（《无声诗史》、《画髓元铨》、《图绘宝鉴续纂》、《宁波志》、《中国名画集》）",[7,209,23,24,25,27,28,243,106,18311,8436,384,10568,8567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2afad23ebaf7357b70a3be598dccc1.jpg",[],{"id":52521,"slug":52522,"title":52523,"dynasty":99,"author":170,"museum":20,"description":52524,"tags":52525,"thumbUrl":52526,"material":527,"size":52527,"collection":139,"collections":52528,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[7,209,23,24,25,173,27,178,177,29,13834,34,35,557,1267,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","画323×33cm；跋64×33cm",[],{"id":52530,"slug":52531,"title":52532,"dynasty":18,"author":8191,"museum":311,"description":52533,"tags":52534,"thumbUrl":52535,"material":67,"size":52536,"collection":139,"collections":52537,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[7,23,24,25,28,27,106,150,808,29,34,4140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":52539,"slug":52540,"title":52541,"dynasty":99,"author":52542,"museum":206,"description":52543,"tags":52544,"thumbUrl":52545,"material":88,"size":52546,"collection":181,"collections":52547,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[7,23,24,225,173,29,177,176,466,34,35,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[181],{"id":52549,"slug":52550,"title":52551,"dynasty":99,"author":52552,"museum":222,"description":52553,"tags":52554,"thumbUrl":52557,"material":699,"size":52558,"collection":139,"collections":52559,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},231936,"fang-gao-ke-gong-shan-shui-tu-tao-hong-231936","仿高克恭山水图","陶泓","图绘云山峻岭，大气磅礴，山林滃郁，流泉潺湲。一高士过桥而回首观水，喻”智者乐水“之意。全幅用高尚书笔意而润密过之。 陶泓，字士泉，号砚山，生平无考。",[7,23,24,209,225,173,29,23422,52555,1220,109,108,106,105,177,52556],"峻岭","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":52561,"slug":52562,"title":52563,"dynasty":99,"author":1150,"museum":206,"description":52564,"tags":52565,"thumbUrl":52566,"material":699,"size":52567,"collection":139,"collections":52568,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[7,23,25,173,29,177,86,178,263,176,34,109,108,175,106,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":52570,"slug":52571,"title":52572,"dynasty":99,"author":817,"museum":311,"description":27771,"tags":52573,"thumbUrl":52574,"material":139,"size":139,"collection":139,"collections":52575,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[7,23,24,25,173,177,178,263,29,466,34,176,175,174,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":52577,"slug":52578,"title":52579,"dynasty":277,"author":51089,"museum":311,"description":51090,"tags":52580,"thumbUrl":52583,"material":2164,"size":2165,"collection":139,"collections":52584,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷",[7,23,24,25,244,173,28,11064,2234,52581,52582,807,370,384,176,928,284,808,106,83],"蛙","狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":52586,"slug":52587,"title":52588,"dynasty":277,"author":52589,"museum":311,"description":52590,"tags":52591,"thumbUrl":52592,"material":2164,"size":2165,"collection":139,"collections":52593,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},231756,"ruo-fa-shi-tu-ping-di-1-ping-xia-cun-guan-shan-231756","弱法师图屏 第1屏","下村观山","下村观山 1873-1930 (明治六-昭和五)58岁。本名晴三郎。和歌山县和歌山市生人,少时问业藤岛常兴.狩野芳崖,后专师桥本雅邦,东京美术学校毕业。",[7,299,27,28,8036,402,19073,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbedc44d1bf5a58dd8dda8357ef6692.jpg",[],{"id":52595,"slug":52596,"title":52597,"dynasty":277,"author":34092,"museum":311,"description":46255,"tags":52598,"thumbUrl":52599,"material":2164,"size":2165,"collection":139,"collections":52600,"showCount":480,"zanCount":2209,"manualWeight":48,"mainColor":94},231618,"bai-miao-shi-er-tian-tu-xiang-pi-sha-men-tian-zhen-hai-231618","白描十二天图像 毗沙门天",[7,23,24,244,243,106,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29ded800c890a4c20cd90b8232e25c8.jpg",[],{"id":52602,"slug":52603,"title":39455,"dynasty":277,"author":52604,"museum":311,"description":32603,"tags":52605,"thumbUrl":52606,"material":2164,"size":2165,"collection":139,"collections":52607,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},231582,"qi-shi-wen-shu-tu-ling-cai-231582","灵彩",[7,23,24,225,243,244,173,106,808,2186,3861,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97b7cf0e134855a8876822301aa10b4.jpg",[],{"id":52609,"slug":52610,"title":52611,"dynasty":99,"author":52612,"museum":222,"description":52613,"tags":52614,"thumbUrl":52615,"material":699,"size":52616,"collection":139,"collections":52617,"showCount":480,"zanCount":2209,"manualWeight":48,"mainColor":49},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[7,23,27,177,225,29,466,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 x 38.1cm",[],{"id":52619,"slug":52620,"title":52621,"dynasty":76,"author":52622,"museum":1279,"description":52623,"tags":52624,"thumbUrl":52625,"material":9374,"size":52626,"collection":139,"collections":52627,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[7,23,173,225,29,177,105,108,109,175,866,30,466,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","110cmx55cm",[],{"id":52629,"slug":52630,"title":16003,"dynasty":18,"author":1699,"museum":206,"description":52631,"tags":52632,"thumbUrl":52633,"material":302,"size":16008,"collection":139,"collections":52634,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},230965,"yao-chi-xian-shou-tu-liu-song-nian-230965","人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[7,209,23,24,28,27,29,106,107,1365,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcf0da55e5064051ab60329ab404823.jpg",[],{"id":52636,"slug":52637,"title":52638,"dynasty":277,"author":278,"museum":311,"description":52639,"tags":52640,"thumbUrl":52641,"material":2164,"size":2165,"collection":139,"collections":52642,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},230530,"gu-hua-mo-ben-xia-gui-deng-tu-juan-yi-ming-230530","古画模本（夏圭等图卷）","此卷分两处景致，左端冷月悬于寒空，孤梅瘦枝横斜水岸，江石清寂，恍见幽人凭立，萧寒淡远，尽得隐逸清疏之致。右端以没骨法绘白花柔枝，晕染轻透，花瓣莹润如凝霜雪，浅蓝枝叶衬出雅致隽秀。旁题行书小诗，诗画相融，笔意简淡却藏雅人幽情，将爱花赏梅的闲逸心境织入笔墨，清寂空濛与柔婉清雅相映，尽显古典雅致的文人情致。",[7,23,24,25,27,28,83,29,106,384,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea6b17bd705e743fcc1bac8c1e8fa4d.jpg",[],{"id":52644,"slug":52645,"title":52646,"dynasty":277,"author":278,"museum":311,"description":52647,"tags":52648,"thumbUrl":52649,"material":139,"size":139,"collection":139,"collections":52650,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},230522,"fang-gu-shan-shui-dong-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230522","仿古山水动物粉本(狩野家图卷)","此作以工写相融之笔绘就水畔闲景，一对鸳鸯依偎石间，雄鸟羽色妍秀，翎毛晕染精微，绒绒肌理宛然可见，雌鸟素朴温婉，二者亲昵缱绻，尽显静好之态。旁侧芍药轻绽，粉花柔叶勾勒秀雅，设色清润柔和。坡石以淡墨晕染虚化，留白衬出水泽空濛，将院体花鸟的精工细腻，与文人写意的淡逸糅合一处，把缱绻温情藏在幽寂小景里，静雅恬然，晕染出东方花鸟独有的诗意韵致。",[7,23,27,28,2053,369,176,83,284,3900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d5f83429ae56c7ef5eae540e6bcdd.jpg",[],{"id":52652,"slug":52653,"title":52654,"dynasty":277,"author":278,"museum":311,"description":52655,"tags":52656,"thumbUrl":52657,"material":2164,"size":2165,"collection":139,"collections":52658,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},230513,"e-gui-cao-zhi-yi-ming-230513","饿鬼草纸","这幅绘卷文图共生，以淡墨设色晕染出饿鬼道众生的悲苦世相。饿鬼身形枯槁、神色凄厉，或焦渴探水、或争抢残食，将饥渴煎逼的绝望尽数展露。\n\n古雅日文抄录经文典故，与画面呼应铺陈阿难见饿鬼受报、佛陀开示施食的故事。斑驳古拙的线条带着岁月痕迹，沉哑色调烘托出幽冥晦暗的氛围，后半段佛陀现身，莲光轻笼，为暗澹图景注入暖意，在强烈对比里传递出对苦难的悲悯与救赎的力量，尽显肃穆古朴的宗教绘卷质感。",[7,9700,24,25,243,27,244,106,808,17116,34,32058,5152,3319,32401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b758e1b747a02b42db24c9f540afd54.jpg",[],{"id":52660,"slug":52661,"title":52662,"dynasty":277,"author":52663,"museum":311,"description":52664,"tags":52665,"thumbUrl":52666,"material":2164,"size":2165,"collection":139,"collections":52667,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},230490,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-er-ping-yun-gu-deng-yan-230490","安土桃山 山水图屏风-第二屏","云谷等颜","云谷等颜（1547～1618）画家。初学狩野派，后学雪舟水墨画。",[7,23,24,173,29,174,177,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2406d05eb8ab3e40711e141a4a8b0f6.jpg",[],{"id":52669,"slug":52670,"title":52671,"dynasty":277,"author":1804,"museum":311,"description":52672,"tags":52673,"thumbUrl":52674,"material":139,"size":139,"collection":139,"collections":52675,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},230485,"chang-hen-ge-tu-juan-shi-qi-shi-ji-xia-juan-shou-ye-shan-xue-230485","长恨歌图卷十七世纪（下卷）","此作用青绿浅绛敷色，复刻出盛唐帝妃苑囿盛景。亭台层叠错落，斗拱飞檐尽现古建规制，朱红、石青与黛瓦相映，尽显皇家苑囿的恢宏华贵。\n\n山峦云雾环伺宫宇，侍从仪仗整肃排布，帝妃衣袂翩然，或凭栏观览，或游赏宴饮，细碎笔触将《长恨歌》里骊宫盛景具象化，处处可见诗中缱绻日常与雍容气象。全卷笔墨工细雅致，布景疏密得宜，将盛世风华融于长卷，古韵悠然，尽显摹写中国古画的精妙造诣。",[7,25,28,27,104,106,107,29,108,109,175,34,2278,1069,37,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a21bc527443be8d54d48f5ae87ae103.jpg",[],{"id":52677,"slug":52678,"title":52679,"dynasty":76,"author":1047,"museum":311,"description":52680,"tags":52681,"thumbUrl":52682,"material":139,"size":139,"collection":139,"collections":52683,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},230283,"wu-yan-pai-lv-jing-xin-zhu-da-230283","五言排律镜心","此作用笔枯润交糅，线条瘦劲老辣，凝练如铁。字距错落排布，行气舒朗连贯，虚实相生间晕开疏淡孤高的底色。\n点画简括却力透纸背，牵丝映带里尽显萧散雅逸，既有晋人行书的灵动意趣，又将沉郁心绪藏在起落转合中。笔墨间浸透着清冷遗世的风骨，把孤高心性与书法意境相融，每一处转折都暗合幽远禅意，以极简形质承载苍劲沉凝的精神内核，尽显以心驭笔的绝妙文人书意。",[7,86,178,2570,173,263,12737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10294bcc5f79ea0c65b25270013a64a0.jpg",[],{"id":52685,"slug":52686,"title":52687,"dynasty":76,"author":1047,"museum":311,"description":2635,"tags":52688,"thumbUrl":52689,"material":2164,"size":2165,"collection":139,"collections":52690,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},230273,"tang-geng-wei-ti-qing-yuan-si-shi-zhu-da-230273","唐耿湋题清源寺诗",[7,86,178,2570,173,263,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd15d6de57e2fe44f5aaa1d3f3a16268.jpg",[],{"id":52692,"slug":52693,"title":52694,"dynasty":76,"author":1473,"museum":311,"description":52695,"tags":52696,"thumbUrl":52697,"material":2164,"size":2165,"collection":139,"collections":52698,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},230241,"xiang-he-jing-jin-nong-230241","相鹤经","本幅摘录《相鹤经》，书于乾隆十七年（1752年），金农时年66岁。作品横划扁平粗壮，起笔、收笔处着意直切成形，直划、长撇、勾划等细劲锋利，体势方厚、凝重，浓黑的墨色与字间的空白形成鲜明的对比，视觉效果强烈，为金农“漆书”的典型风格。",[7,86,5405,18207,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b63214b9fe5a26d832c5db18b7cd625.jpg",[],{"id":52700,"slug":52701,"title":52702,"dynasty":76,"author":7940,"museum":311,"description":52703,"tags":52704,"thumbUrl":52705,"material":139,"size":139,"collection":139,"collections":52706,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},229021,"mei-xi-gao-yin-tu-zhou-wang-hui-229021","梅溪高隐图轴","此作分上下两境，上段以高远之法绘危崖层叠，飞瀑穿谷而出，淡墨晕开岚气，写尽空山岑寂萧寒之态。下段平溪绕舍，古松虬曲、疏柳映水，茅庐临水而建，尽显林泉幽居的恬然意趣。\n画作以诗入画，呼应高隐主题，笔墨糅合南北画派之所长，干笔皴擦勾勒山石苍劲肌理，湿墨晕染铺就空蒙烟霭，简淡秀雅的笔触间，将文人寄迹林泉、避世高隐的悠然襟怀尽藏其中，尽显清逸出尘的山水画意境。",[7,23,24,225,173,177,29,466,1365,35,34,176,468,557,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca3a61d052a38131a79f29061e44005.jpg",[],{"id":52708,"slug":52709,"title":52710,"dynasty":99,"author":3839,"museum":311,"description":52711,"tags":52712,"thumbUrl":52713,"material":139,"size":139,"collection":139,"collections":52714,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[7,23,24,25,173,178,263,86,29,106,403,226,229,175,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":52716,"slug":52717,"title":1462,"dynasty":99,"author":5391,"museum":311,"description":52718,"tags":52719,"thumbUrl":52720,"material":139,"size":139,"collection":139,"collections":52721,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},228383,"shan-shui-tu-liu-jue-228383","此作用披麻皴晕染江南丘壑，山峦平缓温润，苍松杂木错落于坡石之间，笔墨苍厚松灵，带着吴门画派特有的萧散意趣。淡墨轻烘出烟雨空蒙的氛围，溪谷蜿蜒隐现于林木山石间，尽显吴中山水的温润雅致。\n画作带着文人画的清幽品格，将林泉高致的隐逸心境藏于笔墨间，师法前贤又自出清澹之格，把江南山野的沉静雅致铺陈开来，是兼具笔墨意趣与人文情志的佳构。",[7,23,24,25,173,177,86,178,263,29,34,176,557,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea50e787329b0ad288fa2056b6b465b.jpg",[],{"id":52723,"slug":52724,"title":52725,"dynasty":99,"author":35080,"museum":311,"description":52726,"tags":52727,"thumbUrl":52728,"material":139,"size":139,"collection":139,"collections":52729,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},228351,"shi-ba-jing-tu-ce-22-zhen-song-xu-228351","十八景图册22帧","此作以半边崖岸半边水泽铺展画面，左侧危崖层叠，苍松山居错落，曲径蜿蜒伴行旅人，山石皴笔朴拙苍劲，带着沉厚古意。右侧水网交织，田畴铺陈，远岸村舍隐现，江帆点点悠游烟波间，浅淡设色晕染出江南水泽的温润空濛。笔墨简淡清逸，将林泉野趣与水乡旷远融于一帧，淡远空寂里晕开江南村居的闲静诗意，尽显寄情丘壑的文人意趣，勾勒出独属于晚明的清雅山居图景。",[7,23,24,81,27,177,29,34,31,33,1087,266,3981,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774acef0daf4b9d1744d2d7de32dfd1f.jp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。蒋介石和宋美龄结婚，谭延闿为介绍人。",[7,225,621,86,52952,24,52953],"颜体","枯树赋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3591a006309f3f3e6ccaf82aff2be38.jpg",[],{"id":52957,"slug":52958,"title":52959,"dynasty":76,"author":29211,"museum":311,"description":52960,"tags":52961,"thumbUrl":52962,"material":139,"size":139,"collection":139,"collections":52963,"showCount":480,"zanCount":2209,"manualWeight":48,"mainColor":94},224283,"shan-shui-hua-hui-ce-shi-si-fu-shan-224283","山水花卉冊(十四)","此作用色浅淡温润，以淡赭晕染崖壁，弱化山石棱角锋芒，尽显朴拙沉静的质感。前景枯林疏枝以简笔勾勒，不着浓墨修饰，空留出大片水泽，衬出山野空寂。远山仅以淡墨轻扫，虚实相生间拉开悠远层次。\n\n全画笔墨极简，不尚繁复描摹，以写意之法直抒胸臆，将萧散淡远的林下襟怀藏于淡远景致之中，静穆古雅的气质漫溢纸面。方寸间尽是冬日空山的清寂氛围，淡而不寡，简而不空，把胸中丘壑化作纸上清景，尽显文人画以意驭形的悠长余韵。",[7,23,24,81,173,177,29,865,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347803b95215729f574e8f7396313f9c.jpg",[],{"id":52965,"slug":52966,"title":1462,"dynasty":76,"author":15455,"museum":311,"description":52967,"tags":52968,"thumbUrl":52969,"material":527,"size":52970,"collection":181,"collections":52971,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},224254,"shan-shui-tu-cha-shi-biao-224254","图中景岸上一人牵驴待渡，挥手呼叫船夫；船夫撑着小船正缓缓地驶向岸边。远景山峦起伏，林木苍郁，云雾缭绕，若隐若现的景象。 作品的结构追仿倪云林画风，但形似倪云林画，内涵却不同。图中远山的笔墨好像师法米芾，但又不同于米芾，是查士标“风神懒散，气韵荒寒”（《国朝画征录》）的典型风格。\n画中景物疏密有致、层次分明。作品用笔干净利索：树木用笔以直勾为主，线条方折；舟船、人物刻画细微、用笔轻松，毫无刻板之意；河岸用阔笔、以赭褐色写出；树叶稍有皴染，但颜色较浅，几近于无。整幅画以暖色调为主，点缀以数片绿色。\n该作品笔墨疏简，风神闲散，意境荒寒。书法作品布白稀疏，线条粗细对比明显。运笔变化笔锋，粗笔凝重，细笔灵活。诗联色彩灿烂，氤氲虚幻，仿佛看到一幅幅画面。画家笔下的诗句视觉形象和线条造形尤其简朴闲散，不同米颠的八面书锋，风樯阵马，而是一种看到老树昏鸦的幽隐期约，使人浮想联翩，大隐于市、超然尘外的闲情逸致表现得淋漓尽致。",[7,23,29,173,27,1322,2310,106,151,1265,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8532cafb37db10142222cf2f0d4da91.jpg","纵90.1厘米，横36.7厘米",[181],{"id":52973,"slug":52974,"title":52975,"dynasty":76,"author":17859,"museum":311,"description":52976,"tags":52977,"thumbUrl":52978,"material":139,"size":139,"collection":139,"collections":52979,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},224246,"die-chi-cong-guan-huai-224246","蝶翅丛","此作用笔秀润工致，淡设晕染出白菊冰姿玉骨。数簇柔菊或盛放舒展，或含苞轻绽，枝叶偃仰有态，将秋日花卉的清灵生机尽数铺陈。配上行楷题诗，诗画呼应，把幽菊孤高自持的风骨藏于绢素间。整体雅致内敛，无浓艳修饰，以细腻写实的笔触勾勒花叶纹理，晕染出花瓣柔润的质感，尽显文人写意的沉静意趣，晕染开传统花艺的古典美学，是写生花木的清雅佳作。",[7,209,23,24,27,28,407,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d639b415278a601d0bbf67b6e1f7f63.jpg",[],{"id":52981,"slug":52982,"title":52983,"dynasty":76,"author":7373,"museum":311,"description":52984,"tags":52985,"thumbUrl":52986,"material":139,"size":139,"collection":139,"collections":52987,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},224112,"lin-san-xi-tie-qian-long-224112","临三希帖","《三希堂法帖（一箱全五册）》是29年出版的图书，作者是梁诗正。\n《三希堂法帖(套装全5卷)(繁体竖排版)》分为五卷，其中四卷为原刻印本，第五卷为法帖释文和书家小传。\n《三希堂法帖》是我国清代乾隆年间由朝廷谕旨编刻的一部大型丛帖，全称为《御制三希堂石渠宝笈法帖》。\n乾隆十二年（一七四七年），乾隆皇帝敕命大学士吏部尚书梁诗正、户部尚书蒋溥等人，将内府所藏魏晋至明末的书法作品，择其精华加以校勘编次，从全国各地调集书法石刻艺人高手摹刻上石。\n法帖共分三十二册，刻石五百余块，收集自魏晋至明代末年共一百三十五位书法家的三百四十件书法作口叩和二百一十多件题跋，一千六百多方印章，共九万多字。\n帖中收有被乾隆帝视为稀世墨宝的三件东晋书迹，即王羲之的《快雪时晴帖》、王献之的《中秋帖》和王殉的《伯远帖》，而收藏这三件墨宝的地方又被乾隆称为三希堂，故法帖取名《二希堂法帖》。\n乾隆皇帝爱好书法，日理万机之余，潜心临池，遍习诸家，其书法温润妍媚，亲雅有致。\n由于《二希堂法帖》是乾隆皇帝御览之宝，所以刻印考究，版本珍贵。\n后流传民间，刻印日趋繁杂，以致版本良莠不齐。\n鉴于此，黄山书社和北京传世文化发展中心联合有关专家、学者，遴选各家藏馆版本，后选定首都图书馆善本库这套《二希堂法帖》版本予以影印出版。\n该本刻印清楚，神韵犹足，版本完整，堪称珍品。\n在此基础上，我们附加了法帖全部释文和书家小传，以便读者阅读、研习。",[7,86,105,178,25,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d59b3438eb9d2d283990bdc413c4cf5.jpg",[],{"id":52989,"slug":52990,"title":24005,"dynasty":18,"author":278,"museum":311,"description":52991,"tags":52992,"thumbUrl":52993,"material":139,"size":139,"collection":139,"collections":52994,"showCount":480,"zanCount":2209,"manualWeight":48,"mainColor":49},223689,"an-chun-tu-yi-ming-223689","此作工细写实，将郊野一隅的生趣凝于尺幅之间。画面中的鹌鹑刻画入微，羽毛以淡墨晕染结合丝毛技法，斑纹丝丝毕现，其侧首凝神，警觉灵动，仿佛正静听周遭草间动静，野意盎然。穿插的兰草以柔韧舒展的墨线勾勒，疏密有致，将荒坡的幽野氛围烘托尽致，淡墨晕染的坡石质感朴拙温润，与草叶、禽鸟相映相融。\n整幅笔墨古雅柔和，以小见大，捕捉自然里的刹那生机，尽显细腻体察万物的宋人审美，笔简意长，静雅悠然，暗含着平和安宁的野趣意韵。",[7,23,209,24,28,27,83,8304,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b918dccddff8032d7ec9a55582dda52.jpg",[],{"id":52996,"slug":52997,"title":52998,"dynasty":99,"author":278,"museum":311,"description":52999,"tags":53000,"thumbUrl":53001,"material":139,"size":139,"collection":44,"collections":53002,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},223678,"gu-xiu-shi-liu-ying-zhen-ce-1-yi-ming-223678","顾绣十六应真册1","此作为白描佛画佳构，以清劲匀净的线条写就。罗汉安踞危崖，垂目敛神，仪容清寂和穆，尽出世安然之态。嶙峋山石勾勒出苍硬肌理，古木虬曲盘绕于崖壁，野趣自生。涧水波纹流畅宛转，潺潺动意跃然纸上，静穆坐禅的罗汉与幽鸣涧水形成动静相生之趣，烘托出绝尘空寂的林下禅意。未施浓彩，全以墨线营造意境，笔底苍古高逸，将禅者清修的沉静心境融绘于山水林崖间，尽显幽绝尘嚣的禅林雅韵。",[7,23,81,244,243,106,29,176,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1801312a3130644d3f79d2693f2d8c58.jpg",[44],{"id":53004,"slug":53005,"title":53006,"dynasty":18,"author":278,"museum":311,"description":53007,"tags":53008,"thumbUrl":53009,"material":139,"size":139,"collection":139,"collections":53010,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},223671,"xue-xi-fang-mu-tu-ye-yi-ming-223671","雪溪放牧图页","萧寒冬日的溪岸，淡墨晕染出铺陈的积雪，留白尽显空寂清寒。几株古木依偎而生，虬枝带着残叶，苍劲古朴的身姿在素净雪色间愈显沉郁，将冬日荒郊的萧索尽数铺展。\n\n溪滩处，小童策杖引牛踏水而行，憨态的水牛缓涉浅流，细碎的动态打破了天地的岑寂，为这片清冷雪景晕开一缕烟火暖意。\n\n整幅小品以极简的笔墨勾勒意境，淡墨扫雪、枯笔写树，于留白中烘托出深静的冬日氛围，萧寒里带着鲜活的生趣，尽显以小见大的雅致意趣，将冬日郊野的清寂与悠然牧歌融为一卷，淡远悠长。",[7,23,27,1352,29,1775,151,384,468,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a98cdb3acb6a785bb5f2a05d96d3bfe.jpg",[],{"id":53012,"slug":53013,"title":53014,"dynasty":18,"author":278,"museum":311,"description":53015,"tags":53016,"thumbUrl":53018,"material":139,"size":139,"collection":139,"collections":53019,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},223640,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223640","萧翼赚兰亭图（ＨＤ）","此作以浅淡设色铺陈场景，衣纹勾勒清圆细劲，简练间尽显人物风神。垂首侍立的侍者静立旁侧，竹椅上老僧神态淡然，正与躬身士人相对晤谈。画面摒弃繁复衬景，将张力收束在四人之间，暗合典故里机锋暗藏的对峙氛围。绢面晕开的古旧质感晕染出岁月沉淀，把这场暗藏谋划的会面，凝为沉静古雅的无声戏剧，尽显精妙的叙事功底，于极简布景中铺陈出耐人寻味的故事性。",[7,23,2042,25,36270,27,106,53017,1112,19635,5766,11846,24,209,14773,39492,15231,300],"侍者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034f604ceb2aa0061992d1d0c2365d4a.jpg",[],{"id":53021,"slug":53022,"title":6818,"dynasty":189,"author":278,"museum":311,"description":53023,"tags":53024,"thumbUrl":53025,"material":139,"size":139,"collection":139,"collections":53026,"showCount":480,"zanCount":48,"manualWeight":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。李龙眠既李公麟，字伯时，祖籍安徽舒城， 因安庆桐城郊外有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n好古博学，长于诗，精鉴别古器物。尤以画著名，凡人物、释道、鞍马、山水、花鸟，无所不精，时推为宋画中第一人。李公麟因风痹致仕，归居龙眠山庄，自作《山庄图》，为世所宝。传世作品有《五马图》《维摩诘图》等。",[7,209,23,24,244,243,106,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0e4ae53972ab8c5be07470292ac407.jpg",[],{"id":53449,"slug":53450,"title":53451,"dynasty":18,"author":10082,"museum":56,"description":53452,"tags":53453,"thumbUrl":53454,"material":2570,"size":139,"collection":139,"collections":53455,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},221379,"ba-sun-guo-ting-qian-zi-wen-di-wu-ben-wang-shen-221379","跋孙过庭千字文第五本","王詵[shēn]（公元約1048年—公元約1104年），字晉卿，太原（今山西太原）人，後遷汴京（今河南開封） ，北宋畫家。\n北宋熙寧二年（1069年）娶英宗女蜀國大長公主，拜左衞將軍、駙馬都尉。元豐二年，因受蘇軾牽連貶官均州。元祐元年（1086年）復登州刺史、駙馬都尉。擅畫山水，學王維、李成，喜作煙江雲山、寒林幽谷，水墨清潤明潔，青綠設色高古絕俗。亦能書，善屬文。其詞語言清麗，情致纏綿，音調諧美。存世作品有《漁村小雪圖》《煙江疊嶂圖》《溪山秋霽圖》等。",[7,86,178,24,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7f141a38f4bd44373094a8349e4aac.jpg",[],{"id":53457,"slug":53458,"title":53459,"dynasty":18,"author":46400,"museum":20,"description":53460,"tags":53461,"thumbUrl":53462,"material":43712,"size":53463,"collection":139,"collections":53464,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},221256,"da-nian-tie-xue-shao-peng-221256","大年帖","释文：\n绍彭启：多日廷中不得少款为慊。晴和，想起居佳安。二画久假，上还，希检收。许借承晏、张遇墨，希示一观，千万，千万！承晏若得真完，虽《异热帖》亦可易。更俟续布，不具。绍彭再拜，大年太尉执事。廿八日。\n此帖名也作《晴和帖》。\n这是一封与藏友谈论藏品观摩与交流事宜的书信。信中首先提到归还两幅久借的绘画，然后表示希望借观对方所藏制墨名家李承晏、张遇所制名墨。并云李承晏墨如是完整的真品，愿以自藏王羲之《异热帖》与之交换。信的上款“大年太尉”，据考证应是北宋宗室、名画家赵令穰。\n此帖行笔圆健，结字安详，从容不迫，深得“二王”遗韵，是薛氏的代表作品。上钤“贞元”、“绍兴”等半印，裱工钤“许子仙鉴定印”“许烈之印”“孔氏季修”“受青”等印。\n《寓意编》、《铁网珊瑚》、《式古堂书画汇考》、《平生壮观》等书著录。",[7,86,24,178,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724c47a3271783b03c92462eed77c9b2.jpg","纵25.1厘米，横34.8厘米",[],{"id":53466,"slug":53467,"title":53468,"dynasty":54,"author":278,"museum":311,"description":53469,"tags":53470,"thumbUrl":53471,"material":139,"size":139,"collection":328,"collections":53472,"showCount":480,"zanCount":2209,"manualWeight":48,"mainColor":49},221120,"da-ban-nie-pan-jing-di-er-shi-er-juan-yi-ming-221120","大般涅槃经第二十二卷","此卷小楷笔致朴拙温雅，结体端稳暗含灵动意趣，起收间带着沉静禅意。墨色沉郁苍古，晕染在泛黄斑驳的纸面之上，与岁月留下的痕迹相融，晕开千年的沉静质感。\n\n通卷书写匀净工稳，既恪守抄经的庄重法度，又自然流露书写者松弛的笔意，朱印错落点缀其间，为古卷更添传世厚重底蕴，是宗教文本与书法美学的相融之作，尽显晚唐写经的典型风骨，静静诉说着时光里的虔敬雅致。",[7,5152,86,621,25,243,10270,5153,8289,37433,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b70d2d532ac513d52eaa3284f09d462.jpg",[328],{"id":53474,"slug":53475,"title":53476,"dynasty":76,"author":10054,"museum":20,"description":49378,"tags":53477,"thumbUrl":49380,"material":88,"size":49588,"collection":44,"collections":53478,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},220409,"wang-shi-zhen-fang-xian-tu-yu-zhi-ding-220409","王士禛放鹇图",[7,23,24,25,27,28,106,266,384,176,175,86,263],[44,45],{"id":53480,"slug":53481,"title":53482,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":53483,"thumbUrl":53484,"material":699,"size":4054,"collection":139,"collections":53485,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},220261,"huang-shan-tu-ce-60-hong-ren-220261","黄山图册-60",[7,23,24,81,173,26,27,29,177,47000,1365,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33606b2afecd4253017a2e96c299d3a.jpg",[],{"id":53487,"slug":53488,"title":53489,"dynasty":99,"author":936,"museum":132,"description":937,"tags":53490,"thumbUrl":53492,"material":123,"size":942,"collection":139,"collections":53493,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},220225,"hua-niao-cao-chong-xie-sheng-ce-xiao-die-cai-xiang-chen-hong-shou-220225","花鸟草虫写生册-小蝶采香",[7,23,28,27,81,1904,83,53491,1629,3226,263],"小蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78cad6b44f9cc10aecc0cfa2eca540c.jpg",[],{"id":53495,"slug":53496,"title":53497,"dynasty":99,"author":936,"museum":132,"description":937,"tags":53498,"thumbUrl":53499,"material":123,"size":942,"collection":139,"collections":53500,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},220223,"hua-niao-cao-chong-xie-sheng-ce-dan-zi-gu-fang-chen-hong-shou-220223","花鸟草虫写生册-淡紫孤芳",[7,209,23,24,81,28,27,407,512,2137,83,511,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53bb070134421d626cfa855b4c4e709c.jpg",[],{"id":53502,"slug":53503,"title":53504,"dynasty":99,"author":936,"museum":132,"description":937,"tags":53505,"thumbUrl":53506,"material":123,"size":942,"collection":139,"collections":53507,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":94},220221,"hua-niao-cao-chong-xie-sheng-ce-qing-fang-jie-zhu-chen-hong-shou-220221","花鸟草虫写生册-清芳结竹",[7,23,27,28,81,263,405,4272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dca212e0ed76b4f905925e1f541a884.jpg",[],{"id":53509,"slug":53510,"title":53511,"dynasty":189,"author":9788,"museum":206,"description":53512,"tags":53513,"thumbUrl":53514,"material":123,"size":10625,"collection":139,"collections":53515,"showCount":480,"zanCount":48,"manualWeight":48,"mainColor":49},219108,"hua-hui-ce-qian-niu-wang-yuan-219108","花卉册-牵牛","蓝紫牵牛花瓣晕染如含晨露，清雅温润中藏着细腻肌理。藤蔓蜿蜒舒展，叶片脉络分明，墨线与淡彩交织出自然生机。两只粉蝶翩跹于花间，翅翼斑纹精致，似欲停落又忽振翅，添了灵动意趣。暖棕底色衬得花叶愈发脱俗，工笔之细与写意之淡相融，将寻常草木的韵致凝于尺幅。静赏间，仿佛能触到花瓣柔润，嗅到那缕若有若无的清芬，尽显元人笔下自然之美与文人雅趣，把日常小景绘成了耐人寻味的诗意画面。",[7,23,24,81,27,28,83,20857,512,84,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F813d25a51e8dac5ee3c3d0e110d1e9a1.jpg",[],{"id":53517,"slug":53518,"title":53519,"dynasty":18,"author":676,"museum":1098,"description":53520,"tags":53521,"thumbUrl":53522,"material":67,"size":53523,"collection":44,"collections":53524,"showCount":480,"zanCount":2209,"manualWeight":48,"mainColor":94},219082,"shi-er-luo-han-tu-li-gong-lin-219082","十二罗汉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的影响。",[7,23,24,25,27,177,86,29,108,109,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":54116,"slug":54117,"title":54118,"dynasty":99,"author":278,"museum":20,"description":54119,"tags":54120,"thumbUrl":54121,"material":139,"size":139,"collection":139,"collections":54122,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},234213,"dong-zhu-weng-zhu-lan-juan-yi-ming-234213","东渚翁竹兰卷","释文：归君体之示余，大司□东渚公所作兰竹，行笔秀润，意匠闲雅，真合作也。公在本兵，机务藂挫，而能游心翰墨如此，岂真所谓游刃有余地者哉？徵明题。",[7,23,464,25,86,178,226,406,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18269934aac3e0b357318f647a70291e.jpg",[],{"id":54124,"slug":54125,"title":54126,"dynasty":76,"author":7940,"museum":20,"description":28240,"tags":54127,"thumbUrl":54128,"material":40,"size":54129,"collection":139,"collections":54130,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[7,23,24,209,25,27,29,177,285,108,109,1755,34,107,175,1365,1322,35,9982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":54132,"slug":54133,"title":54134,"dynasty":76,"author":7940,"museum":20,"description":28240,"tags":54135,"thumbUrl":54136,"material":527,"size":54137,"collection":139,"collections":54138,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷",[7,23,25,173,28,29,2019,31,111,34,114,266,108,7944,8925,9982,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 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、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之泰陵，传位于第四子弘历。",[7,23,24,25,27,28,106,107,34,115,54146,1807,16717,315],"古代建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg",[],{"id":54150,"slug":54151,"title":54152,"dynasty":76,"author":25976,"museum":20,"description":54153,"tags":54154,"thumbUrl":54157,"material":699,"size":139,"collection":139,"collections":54158,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},234162,"yan-zi-ji-mo-chou-hu-er-jing-tu-juan-wu-hong-234162","燕子矶莫愁湖二景图卷","吴宏（1615 —1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。\n吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。\n传世作品有康熙五年（1666）作《山水》册页、《江山行旅图》卷，均藏北京故宫博物院；十一年（1672）作《松溪草堂图》轴、《竹石图》轴，藏南京博物院；《山村樵牧图》轴，藏天津市艺术博物馆。《国(清)朝画征录、读画录、桐阴论画、安雅堂集、江宁志、清画家诗史》",[7,209,23,25,173,1218,557,12689,194,3660,1967,1087,1086,54155,54156],"苍郁","生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2193f9b4953e0d1929de82ac13992b.jpg",[],{"id":54160,"slug":54161,"title":28863,"dynasty":76,"author":26161,"museum":311,"description":54162,"tags":54163,"thumbUrl":54164,"material":139,"size":139,"collection":139,"collections":54165,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},234150,"shan-shui-he-juan-liu-ru-shi-234150","此卷以淡墨轻皴写江岸丘壑，林木萧疏、汀洲隐现，水墨晕染出江南烟水空蒙之态，简淡天真，尽得文人画简远逸趣。\n\n通篇题跋行书秀逸灵动，笔致清劲温婉，墨色浓淡参差，与画作的淡远意境相融，诗、书、画三者浑融无间。笔墨里交织江南山水的静雅与文人情致，长卷铺展出悠悠林下之风，将澹澹愁思与清雅襟怀藏入点染挥毫间，尽显灵秀才思与林下襟期。",[7,23,24,25,173,244,177,178,263,29,108,109,175,34,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca11af530f678f1b3f4c15b1e5ac59a6.jpg",[],{"id":54167,"slug":54168,"title":54169,"dynasty":99,"author":3908,"museum":20,"description":16362,"tags":54170,"thumbUrl":54171,"material":699,"size":139,"collection":139,"collections":54172,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},234143,"jiang-nan-bie-yi-juan-lu-zhi-234143","江南别意卷",[7,52167,25,173,27,178,14394,29,1087,34,108,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7318ab2ac09bf9c15a1e91c7c9ced007.jpg",[],{"id":54174,"slug":54175,"title":54176,"dynasty":99,"author":817,"museum":20,"description":54177,"tags":54178,"thumbUrl":54179,"material":573,"size":54180,"collection":139,"collections":54181,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[7,23,24,25,27,28,177,178,86,29,175,108,109,176,34,35,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":54183,"slug":54184,"title":54185,"dynasty":189,"author":645,"museum":9826,"description":54186,"tags":54187,"thumbUrl":54188,"material":67,"size":54189,"collection":139,"collections":54190,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},232887,"tian-ma-fu-tu-juan-zhao-meng-fu-232887","天马赋图卷","《天马赋》是一篇辞赋作品，是著名辞赋家天山客最新完成的辞赋力作。该篇笔力遒劲，描写天马（伊犁马）的形态、声貌、神韵惟妙惟肖，对天马的历史、马的能力描写的非常到位。这是一篇十分成功的优秀辞赋，行文纵横捭阖、笔走龙蛇，有气吞万里之势。本篇可用劲节、雄浑、粗犷、豪迈来概括文章的风格，这也符合中国西部天山、昆仑、伊犁的地域特色。",[7,189,25,27,178,150,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7d933fc0197c7ef5b8b25cbfaf99b3.jpg","26.7x76.5厘米",[],{"id":54192,"slug":54193,"title":54194,"dynasty":189,"author":20059,"museum":311,"description":54195,"tags":54196,"thumbUrl":54197,"material":67,"size":54198,"collection":139,"collections":54199,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},232885,"you-mu-kuang-huan-tu-juan-zhang-yu-232885","游牧狂欢图卷","张雨（1283～1350），元代诗文家、词曲家、书画家、茅山派道士。旧名张泽之，又名张嗣真；字伯雨，号贞居之，又号句曲外史。钱塘（浙江杭州）人。\n博学多闻，善谈名理。诗文、书法、绘画，清新流丽，有晋、唐遗意。曾从虞集受学，诗才清丽。年二十弃家为道士，居茅山，道名嗣真，道号贞真子，又自号句曲外史。师事茅山宗师许道杞弟子周大静，后师事玄教高道王寿衍，居杭州开元宫，与当时文士如杨维桢、张小山、马昂夫、仇山村、班彦功等均有唱和往来。\n传世书迹有《台仙阁记》卷（现藏于上海博物馆）《题画二诗》卷（现藏于故宫博物院）；著有诗集《贞居集》（又名《句曲外史集》）五卷。",[7,209,23,24,25,27,106,433,2186,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf3dd2a8a2ad4ac8b4c773e7f7cd412.jpg","30.4×89 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厘米",[],{"id":54210,"slug":54211,"title":54212,"dynasty":189,"author":35211,"museum":311,"description":54213,"tags":54214,"thumbUrl":54218,"material":9791,"size":54219,"collection":139,"collections":54220,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},232637,"mo-lou-shu-can-zhi-tu-cheng-qi-232637","摹楼璹蚕织图","《耕织图》是中国古代为劝课农桑，采用绘图的形式详实记录耕作与蚕织的系列图谱，原为南宋绍兴年间画家楼璹所作，作品得到了历代帝王的推崇和嘉许。此内整理：传元程棨摹楼璹绘本、清康熙三十五年焦秉贞绘、内府刊本（两种）、清雍正时期陈枚彩绘本、清代彩绘本及和刻本，共九种版本。\n南宋绍兴年间于潜县令楼璹绘制的《耕织图》呈献给宋高宗，深得高宗赞赏并获得吴皇后题词。皇上还专门召见他，并将其《耕织图》宣示后宫，一时朝野传诵，从而引发了“耕织图”发展的第一次高潮。社会上接连不断地出现了许多《耕织图》，形成了中国绘画史、科技史、农业史、艺术史中一个独特的现象，成就了中国文化遗产的一大瑰宝。《耕织图》历经近千年流传到世界各地。\n楼璹的《耕织图》又是一卷诗画相配的文学艺术作品，有人将他的诗与南宋诗人范成大的作品相比较，充满田园气息，也有人评价他的作品的内容更像是以农业为主题的农学著作，有人将它与《天工开物》、《农政全书》相媲美。说是一部有韵的农书。\n《耕织图》描绘细致入微又富有艺术感染力，有赖于楼璹对农业生产的长期观察体验和高超的艺术造诣。他在任县令时，跑遍於潜县治十二乡之周边的南门畈、横山畈、方元畈、祈祥畈、对石畈、竹亭畈、敖干畈等大畈，深入田头地角，出入农家，与当地有经验技术的农夫蚕妇研讨种田、植桑、织帛等经验技术得失。尤其难得的是，它在画面上留下的从事农业生产的图像，为研究农业特别是农具留下了无法从文字资料中得到的珍贵资料。例如《灌溉》《一耘》图，绘出了当时使用戽斗、桔槔和龙骨车抽水灌田的情景。从《收割》图中看到的是一幅紧张的割稻场面。《织》和《攀花》等图绘出了当时已经使用的素织机和花织机，使人们能够更形象地了解当时蚕桑及纺织的发展面貌。其中记载的许多耕织知识和生产工具一直沿用至今。\n该图为康熙年间，江南士人进呈南宋楼璹《耕织图诗》，康熙命内廷供奉焦秉贞重绘而成。康熙亲自题序，并为每幅图“制诗一章，以吟咏其勤苦而书之于图”。时著名木刻家朱圭、梅裕凤奉旨镌版印制。本次编辑将楼诗原文、康熙行草释文用简体文字附于图页，方便读者阅读。《御制耕织图》含23幅耕种图和23幅纺织图，每幅图都配有一首诗。这些诗是由康熙皇帝所作。清宫廷画家焦秉贞创作的这些画很大部分是根据南宋楼璹的《耕织图》来创作的，创作时做了调整。",[7,209,23,25,27,28,106,36359,54215,16789,86,54216,54217],"蚕织","农桑","传统技艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc381aebd2353ed49054ea70b9ec3a5.jpg","32.7X1049",[],{"id":54222,"slug":54223,"title":54224,"dynasty":277,"author":51089,"museum":311,"description":51090,"tags":54225,"thumbUrl":54226,"material":2164,"size":2165,"collection":139,"collections":54227,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},231807,"ming-qing-ri-ben-gu-hua-fen-ben-zhuo-yao-juan-he-guo-xiao-zhai-231807","明清日本古画粉本-捉妖卷",[7,9700,27,25,106,4272,1003,1967,807,27014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5900c3a3fda86d8ad4b7a8c7ca938.jpg",[],{"id":54229,"slug":54230,"title":54231,"dynasty":277,"author":27021,"museum":311,"description":27022,"tags":54232,"thumbUrl":54233,"material":2164,"size":2165,"collection":139,"collections":54234,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},231745,"jiang-hu-shi-dai-xia-qiu-cao-tu-ping-feng-xia-fen-jiu-jing-bao-yi-231745","江户时代 夏秋草图屏风-夏分",[7,13178,27,28,299,83,928,989,62,284,3226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb548c61cf45af09f8adccf27384be288.jpg",[],{"id":54236,"slug":54237,"title":54238,"dynasty":277,"author":278,"museum":311,"description":54239,"tags":54240,"thumbUrl":54242,"material":139,"size":139,"collection":139,"collections":54243,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},231697,"you-yuan-si-tiao-ping-yi-ming-231697","游园四条屏","此作以古松虬枝框景，留白衬出林下清寂悠远。仕女分作数组，情态各别：执伞侍者垂首侍立，闺中眷侣私语相和，携幼仕女缓行顾盼，执巾侍女恭谨相随。\n\n线条细劲秀逸，敷色淡雅明净，朱红白衫与黛色衣袂相映，晕染柔和自然，将仕女温婉丰腴的体态神韵尽显。整幅画作把游园的松弛闲静，融在松风云影之间，将贵族春日游园的悠然意趣铺陈开来，尽显古典仕女画的雅致情致。",[7,23,24,27,28,106,59,866,2220,54241,12847,34],"游园场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127e8cff6c8c717373302cc855931e79.jpg",[],{"id":54245,"slug":54246,"title":54247,"dynasty":277,"author":34092,"museum":311,"description":46255,"tags":54248,"thumbUrl":54249,"material":2164,"size":2165,"collection":139,"collections":54250,"showCount":684,"zanCount":2209,"manualWeight":48,"mainColor":94},231619,"bai-miao-shi-er-tian-tu-xiang-yue-tian-zhen-hai-231619","白描十二天图像 月天",[7,23,24,225,243,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b652dad80f69379800acd9b03119a31.jpg",[],{"id":54252,"slug":54253,"title":54254,"dynasty":99,"author":35080,"museum":311,"description":54255,"tags":54256,"thumbUrl":54257,"material":699,"size":54258,"collection":139,"collections":54259,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},231599,"da-mo-mian-bi-tu-song-xu-231599","达摩面壁图","此图所绘达摩形象古朴而虔诚，四周是野草蒙茸的岩洞，达摩身着红衣， 端坐于蒲团之上，正在修行。画心题“问法金銮不顺情，折盖潜向少林行。 若无断臂来承受，辜负如来十万程。”署款“庚子新春写于云间超果精舍。”押 “宋旭之印”、“石门山人”二印。",[7,23,24,225,27,177,243,106,229,109,284,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":54261,"slug":54262,"title":54263,"dynasty":99,"author":817,"museum":311,"description":54264,"tags":54265,"thumbUrl":54266,"material":139,"size":139,"collection":139,"collections":54267,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},231565,"fei-quan-gu-shu-tu-wen-zheng-ming-231565","飞泉古树图","文征明（1470--1559），初名壁(或璧)，字徵明，一字征仲，号衡山。江苏长洲（苏州）人。明代中期著名的画家、书法家。他与沈周、唐寅、仇英并列，合称明四家(吴门四家或“吴门四杰”）。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。书法上与祝允明、王宠并誉为“吴中三家”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。\n文征明的书画造诣极为全面，其诗、文、书、画无一不精，人称四绝全才。诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。\n文征明的绘画兼善山水、花鸟、人物，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。细笔山水画属本色画，具装饰性、抒情味、稚拙感的特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。\n文征明传世画作有《千岩竞秀》、《万壑争流》、《石湖草堂》、《石湖诗画》、《横塘诗意》、《虎丘图》、《天平纪游图》、《灵岩山图》、《洞庭西山图》、《拙政园图》等。",[7,23,24,29,27,177,9889,12132,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449fe9e3fac0372a5e26f2d03ddcc88.jpg",[],{"id":54269,"slug":54270,"title":54271,"dynasty":76,"author":7940,"museum":132,"description":54272,"tags":54273,"thumbUrl":54274,"material":699,"size":54275,"collection":139,"collections":54276,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[7,23,173,177,29,403,34,176,466,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":54278,"slug":54279,"title":54280,"dynasty":76,"author":54281,"museum":311,"description":54282,"tags":54283,"thumbUrl":54284,"material":139,"size":139,"collection":139,"collections":54285,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},230920,"yin-tang-xiao-yue-tu-lan-tao-230920","银塘晓月图","蓝涛","此作用笔清隽工细，设色雅致柔和。暮春晓月晕开朦胧柔光，池畔梨花如云叠缀，柔枝轻曳舒展，将春夜清寂揉入花枝。绣眼静栖枝头，羽色苍褐温润，身形灵动传神，似在聆听春夜余声。画面留白疏朗空灵，师法宋元院体意趣，将幽淡宁和的春夜诗意凝于尺幅，尽显古典花鸟的雅致韵致，把塘边春宵的温柔静谧永远定格于绢素之中。",[7,23,24,209,225,28,27,83,285,370,62,926,2607,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcafc6fa2c004fa104f0237b2fc2238e0.jpg",[],{"id":54287,"slug":54288,"title":54289,"dynasty":277,"author":278,"museum":311,"description":54290,"tags":54291,"thumbUrl":54292,"material":2164,"size":2165,"collection":139,"collections":54293,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},230544,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-yi-ping-yi-ming-230544","室町时代 浜松图屏风-第一屏","这幅以金箔为底，晕染出柔婉的烟云水色，垂柳枝条袅袅垂落，拂过细劲勾勒的粼粼水波。群鸟灵动错落，或栖于柳梢私语，或掠波振翅，或静立汀渚理羽，将幽寂水岸的春日生机尽数铺陈。墨色苍润的汀渚点缀浅滩，华贵金底晕开朦胧柔美的氛围感，工细的笔致揉合写意的松弛，将雅致闲静的水岸意趣，揉进富丽又清寂的和风意境里，静中藏动，尽显幽闲雅致的东方意韵。",[7,209,27,28,8036,83,266,1322,2279,282,283,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de117802efd0cb25b10b9881d05f169.jpg",[],{"id":54295,"slug":54296,"title":54297,"dynasty":76,"author":1473,"museum":311,"description":21972,"tags":54298,"thumbUrl":54299,"material":2164,"size":2165,"collection":139,"collections":54300,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},230239,"qi-shu-sheng-zhong-jiao-shi-ji-ye-jin-nong-230239","漆书盛仲交事迹页",[7,86,24,18207,5405,81,315,32058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc594439da4b050225b4bde7e8d8f82cf.jpg",[],{"id":54302,"slug":54303,"title":42368,"dynasty":76,"author":26151,"museum":311,"description":54304,"tags":54305,"thumbUrl":54306,"material":139,"size":139,"collection":139,"collections":54307,"showCount":684,"zanCount":2209,"manualWeight":48,"mainColor":49},230143,"he-he-er-xian-tu-luo-pin-230143","画面里二人憨态尽显，袒胸露腹，衣衫松垂，相偎对视，笑意漫溢眉眼间，亲昵松弛的模样满是人间烟火的融融暖意。作者以写意淡墨晕染人物神态，简括的衣纹线条随性洒脱，寥寥数笔便勾勒出二仙随性自在的模样。\n\n题诗与画作相映成趣，以质朴诗文点出合和圆满的意涵，笔墨古雅朴拙，诗画相融无间。整作摒弃繁复设色，以水墨清简之韵消弭仙俗边界，将和合二仙承载的圆满喜乐，以最生动质朴的方式铺陈开来，尽显写意功力，也传递出对人间温情圆满的脉脉期许。",[7,23,24,173,400,244,106,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8112e91dbc56cac7f9b59025a7b714ff.jpg",[],{"id":54309,"slug":54310,"title":54311,"dynasty":76,"author":2987,"museum":311,"description":54312,"tags":54313,"thumbUrl":54315,"material":139,"size":139,"collection":139,"collections":54316,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},228957,"fang-song-ren-gou-ran-tu-ce-jiang-ting-xi-228957","仿宋人勾染图册","此作用淡墨勾勒花瓣轮廓，由外至内层层晕染，将盛放牡丹的丰腴柔润尽数铺展，花心以浓墨点簇，层次分明，把牡丹盛放时的娇妍饱满尽显无遗。枝叶笔墨干湿浓淡有别，叶片皴擦细致、叶脉清晰，挺秀枝干搭配舒展翠叶，清雅间带着端庄意韵。\n\n全幅未施丹青，纯以水墨晕染花卉神采，兼得宋画工致写实的格调和文人写意的澹泊雅致。错落排布的鉴藏印，更添古雅厚重的书卷意蕴，将工笔细腻与水墨清逸相融，把牡丹的华贵风骨敛在素净墨色中，静雅脱俗，余韵悠长。",[7,23,209,24,81,28,54314,173,83,369,263,105],"勾染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c010e2f237ef06f01aef610df459e6.jpg",[],{"id":54318,"slug":54319,"title":54320,"dynasty":76,"author":10456,"museum":311,"description":25453,"tags":54321,"thumbUrl":54322,"material":2164,"size":2165,"collection":139,"collections":54323,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},228945,"shi-lv-quan-xiao-si-fu-ping-deng-shi-ru-228945","世虑全消四幅屏",[7,86,5405,51175,8289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bcc0ef104d2131a7e6e7e9808c7cf7.jpg",[],{"id":54325,"slug":54326,"title":54327,"dynasty":99,"author":278,"museum":311,"description":54328,"tags":54329,"thumbUrl":54330,"material":139,"size":139,"collection":139,"collections":54331,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},228817,"nao-xue-tu-tuan-shan-ye-yi-ming-228817","闹学图团扇页","整幅画面定格书塾日常的松弛一瞬，执教先生伏案酣眠，彻底解开学童身上的课业枷锁。顽童们或是肆意嬉闹，或是摆弄文房玩趣，将肃穆书斋化作稚趣横生的小天地。\n\n设色调古雅柔和，浅晕慢染间晕开旧时光的沉静质感，线条轻细灵动，精准捕捉孩童跳脱的身形与狡黠神态。以细腻的市井视角，将课业之外的稚真快活凝于绢面，把日常闲趣勾勒得鲜活饱满，尽显小品风俗画的动人情致，让旧时顽童嬉闹的鲜活意趣跨越年岁，直抵观者眼底。",[7,23,1352,27,106,228,4420,1115,1116,4421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260700c922023b178b3f968e38060294.jpg",[],{"id":54333,"slug":54334,"title":54335,"dynasty":99,"author":278,"museum":311,"description":54336,"tags":54337,"thumbUrl":54338,"material":139,"size":139,"collection":139,"collections":54339,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},228800,"jiang-shang-du-diao-tu-yi-ming-228800","江上独钓图","烟波江上，渔翁卧于苇席，持杯把盏，斜置钓竿，将垂钓沽酒的闲逸写尽。手边酒坛缀着青芽，野趣横生。汀洲苇草轻摇，仙鹤掠空，水纹层层晕染，晕开一江清寂。\n\n题画诗点出幽居江湖、寄意烟波的襟怀，不求鱼获，只守自在本心。设色古雅温润，线条简淡松弛，将文人遁世忘机的隐逸意趣铺陈开来，无半点尘俗喧嚣，只剩江风裹着酒意漫开，把东方文人的闲旷之思融在尺幅间，淡而有味，静里生情，尽显出世忘机的林下之风。",[7,23,24,27,106,29,109,266,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c530002aa4f2cfc6f7ca3789b17bf70.jpg",[],{"id":54341,"slug":54342,"title":54343,"dynasty":99,"author":278,"museum":311,"description":54344,"tags":54345,"thumbUrl":54346,"material":139,"size":139,"collection":139,"collections":54347,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[7,23,24,25,27,105,151,29,34,106,108,109,229,177,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":54349,"slug":54350,"title":54351,"dynasty":99,"author":2146,"museum":311,"description":54352,"tags":54353,"thumbUrl":54354,"material":2164,"size":2165,"collection":139,"collections":54355,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},228479,"cao-wu-pu-tuan-tang-yin-228479","草屋蒲团","《草屋蒲团图》又名《虚亭听竹图》，是唐伯虎  中晚期创作最为丰富和成熟时期的作品，图绘江南初秋士人蒲团之上晨读之情景。画面环境幽雅清静，给人以深厚、凝重之感，呈现出大自然的生动景象。属于唐氏作品中少见的浑厚、凝重的作品。",[7,23,24,225,173,177,178,86,106,29,226,19365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3366fd1cdf4d4aac38338b2afddae630.jpg",[],{"id":54357,"slug":54358,"title":9235,"dynasty":99,"author":26038,"museum":311,"description":54359,"tags":54360,"thumbUrl":54361,"material":139,"size":139,"collection":139,"collections":54362,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},228461,"fang-huang-zi-jiu-shan-shui-tu-sheng-mao-ye-228461","此作用笔追摹黄公望苍厚朴茂的披麻皴，山峦层叠盘桓，以高远之势铺陈丘壑，兼具深远之致。林麓间山居屋舍错落，溪泉萦回，苍松挺立点缀幽壑，暗含元人山水萧散淡远的意趣。\n\n画家师法前贤却不囿于摹写，以温润秀雅的笔调，将富春山居的平淡天真复刻传神，把晚明文人寄情林泉的雅趣融在笔墨间，既恪守元画的空灵气韵，又自含清隽的个人意韵，尽显林泉高致的悠远意境。",[7,23,24,225,29,173,177,176,34,468,35,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6db1427bc5215e0f3e4bb071162d0a8.jpg",[],{"id":54364,"slug":54365,"title":54366,"dynasty":99,"author":54367,"museum":311,"description":54368,"tags":54369,"thumbUrl":54370,"material":139,"size":139,"collection":139,"collections":54371,"showCount":684,"zanCount":2209,"manualWeight":48,"mainColor":629},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","魏之璜","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[7,23,24,225,173,29,177,176,34,109,1087,106,1365,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":54373,"slug":54374,"title":30916,"dynasty":99,"author":33096,"museum":311,"description":54375,"tags":54376,"thumbUrl":54377,"material":139,"size":139,"collection":139,"collections":54378,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},228366,"shi-liu-luo-han-tu-chen-xian-228366","此作用笔极简却意韵悠长，淡墨勾勒罗汉衣袍，线条舒缓苍劲，将僧袍垂坠柔软的质感尽显无遗。罗汉面容刻画细腻入微，唇角含笑，神态恬然静定，安然的坐姿透着出尘的禅意。身旁盆栽兰草，寥寥数笔绘就舒展花叶，清雅脱俗，与罗汉气质相映成趣，烘托出静谧空寂的禅房氛围。\n\n画面以水墨写意见长，浓淡干湿自然过渡，不用浓艳敷色，以形传神，将高僧闲适安然的心境展露无余。右侧题字笔力苍劲古朴，与水墨画面气韵相融相合，尽显文人画以意驭笔的意趣，空灵悠远的禅境跃然纸上，是一件精妙的禅意小品。",[7,23,24,243,106,173,244,263,406,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb042f67db1eec218836dfc97590a62a.jpg",[],{"id":54380,"slug":54381,"title":54382,"dynasty":99,"author":35080,"museum":311,"description":54383,"tags":54384,"thumbUrl":54385,"material":139,"size":139,"collection":139,"collections":54386,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[7,209,23,24,27,177,263,29,30,866,1365,106,1267,4064,1265,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":54388,"slug":54389,"title":54390,"dynasty":99,"author":45103,"museum":311,"description":54391,"tags":54392,"thumbUrl":54393,"material":2164,"size":2165,"collection":139,"collections":54394,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},228317,"shi-ba-ying-zhen-tu-ce-2-zheng-zhong-228317","十八应真图册-2","郑重，生卒年不详，明末清初人，字千里，号无着，安徽歙县人。流寓金陵（今南京），好楼居，日事香茗。擅写佛像，必斋沐而后提笔。亦为山水小景，摹仿宋元体均精研。",[7,23,209,24,81,27,28,243,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe379f618c60e75d2a4ae9324288d9f.jpg",[],{"id":54396,"slug":54397,"title":54398,"dynasty":99,"author":3908,"museum":311,"description":16362,"tags":54399,"thumbUrl":54400,"material":2164,"size":2165,"collection":139,"collections":54401,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},228311,"tian-chi-wan-tiao-tu-lu-zhi-228311","天池晚眺图",[7,23,24,25,29,27,177,557,34,114,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed16a02709d4880a243cf9b576eb41.jpg",[],{"id":54403,"slug":54404,"title":54405,"dynasty":99,"author":1150,"museum":311,"description":54406,"tags":54407,"thumbUrl":54408,"material":2164,"size":2165,"collection":139,"collections":54409,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},228273,"za-xi-tu-zan-ding-xiang-sheng-mo-228273","杂戏图（暂定）","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[7,23,24,27,28,106,150,2508,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5129841c1c2dc76fe275120220bb6f0.jpg",[],{"id":54411,"slug":54412,"title":54413,"dynasty":189,"author":278,"museum":311,"description":54414,"tags":54415,"thumbUrl":54416,"material":139,"size":139,"collection":139,"collections":54417,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},228249,"lao-shu-wu-ya-tu-yi-ming-228249","老树乌鸦图","这幅山水以淡墨晕染出空阔秋水，汀渚横陈，水汽如薄纱漫过江天。滩头老树枯槎盘虬，枝桠无叶，孑然伫立在寒渚之上，将深秋江野的荒寂尽数铺展。\n\n画师以简驭繁，不用繁复皴擦，以水墨晕染造境，留白衬出江天寥廓，将元代文人萧索幽微的心境寄寓其间，淡墨里藏着清寂，枯枝中凝着怅惘，把寒江晚景的萧寒逸趣写尽，淡而愈远，枯而弥长。",[7,23,24,25,173,177,29,866,3268,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302366aef14e011720d4f3e96ae9223f.jpg",[],{"id":54419,"slug":54420,"title":54421,"dynasty":189,"author":278,"museum":311,"description":54422,"tags":54423,"thumbUrl":54425,"material":139,"size":139,"collection":139,"collections":54426,"showCount":684,"zanCount":2209,"manualWeight":48,"mainColor":49},228225,"luo-han-fu-chen-tu-yi-ming-228225","罗汉拂尘图","主尊罗汉面相古拙威严，身覆织锦僧衣，衣纹婉转流畅，朱砂、石青与金彩点缀出华贵质感，敷色厚重沉稳。他手持拂尘静踞石台，头后圆光烘托出沉静禅意。身旁侍童神态恭谨，刻画生动入微。背景以水墨晕染古木虬枝，丹实缀叶，衬出幽寂山林禅境。\n\n画作承宋院体写实余韵，线条精细劲挺，人物造型传神肃穆，兼具宗教造像的庄严感与世俗写实的生动意趣，尽显禅门清寂高古的沉静氛围，是佛画中精妙的写实佳制。",[7,23,27,28,243,106,34,558,54424,284,436],"拂尘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e886b4f713ab229b96a54aa9d6ebe1f.jpg",[],{"id":54428,"slug":54429,"title":1462,"dynasty":189,"author":54430,"museum":311,"description":54431,"tags":54432,"thumbUrl":54433,"material":139,"size":139,"collection":139,"collections":54434,"showCount":684,"zanCount":2209,"manualWeight":48,"mainColor":49},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[7,23,24,1352,173,27,29,177,108,109,34,176,37,114,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":54436,"slug":54437,"title":54438,"dynasty":189,"author":13710,"museum":311,"description":54439,"tags":54440,"thumbUrl":54441,"material":139,"size":139,"collection":139,"collections":54442,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":629},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[7,23,24,225,243,106,29,173,27,466,229,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":54444,"slug":54445,"title":54446,"dynasty":189,"author":13039,"museum":311,"description":54447,"tags":54448,"thumbUrl":54450,"material":139,"size":139,"collection":139,"collections":54451,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},228058,"ma-xi-tu-zhao-yong-228058","马戏图","此作棕褐绢底上，一众骑手纵马驰骋，热烈图景扑面而来。骏马昂首扬蹄，鬃尾飞动，将奔跃张力尽数铺开；骑手或控马回身，或俯身驯骑，动态鲜活灵动，尽显驯马驰驱的飒爽意气。人物服饰晕染雅致鲜明，胡汉装束兼具，暗合塞上风情。线条劲挺流畅，勾勒出马的矫健筋骨与人的生动情态，朴拙笔触里带着刚健力道。\n\n后附题跋墨色淋漓，笔意苍劲，书画相映成趣，将鞍马游猎的雄健快意定格绢素，古意盎然，尽显此类题材画作的雄浑气度。",[7,209,23,25,27,28,106,150,54449,86,178,263],"马戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87f7bf4a9f1d905dd707947937bd78f.jpg",[],{"id":54453,"slug":54454,"title":54455,"dynasty":189,"author":35211,"museum":311,"description":54456,"tags":54457,"thumbUrl":54458,"material":139,"size":139,"collection":139,"collections":54459,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},228036,"mo-lou-shu-geng-zuo-tu-cheng-qi-228036","摹楼璹耕作图","它以长卷娓娓铺展江南农耕全景，从育秧插田到收谷晾晒，田埂间农人往来忙碌，挑担、插秧、打谷各尽其事，农舍林木点缀其间，晕开融融烟火气。\n笔墨以淡彩衬白描，人物形神鲜活灵动，田畴草木朴拙写实，完整复刻出古早农事的全过程。卷身遍留历代题跋钤印，让这幅纪实之作，又成为递藏传承的书画珍迹，既是乡土民生的鲜活注脚，也承载着后世对旧时田家意趣的追慕。",[7,209,23,24,25,105,27,28,178,1163,263,106,151,13834,8727,27887,384,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],{"id":54461,"slug":54462,"title":54463,"dynasty":189,"author":47467,"museum":311,"description":47468,"tags":54464,"thumbUrl":54465,"material":2164,"size":2165,"collection":139,"collections":54466,"showCount":684,"zanCount":2209,"manualWeight":48,"mainColor":94},228025,"fan-qi-tu-juan-zhao-lin-228025","番骑图卷",[7,23,24,25,244,27,106,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a422fb91c6b267bc128150d1d205bb.jpg",[],{"id":54468,"slug":54469,"title":38155,"dynasty":189,"author":3051,"museum":311,"description":54470,"tags":54471,"thumbUrl":54472,"material":139,"size":139,"collection":139,"collections":54473,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},228022,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-228022","此卷以淡设色铺展传奇掌故，堂内二人对坐，萧翼神色暗藏机锋，辩才老僧浑然不察，朴拙屋舍与枯淡山石衬出沉静古雅氛围，笔意清润简淡，将智赚兰亭的幽微张力隐于画面。后接行书题跋，笔墨秀逸流丽，诗画相映，复现这段秘事的跌宕意趣。全卷诗画合璧，叙事含蓄雅致，尽显元人书画相融的清雅韵致，将暗涌的心机藏于淡然古雅的卷气之中。",[7,23,24,25,27,28,106,86,263,300,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de278903b52c332e06be2ce71661d22.jpg",[],{"id":54475,"slug":54476,"title":54477,"dynasty":18,"author":1395,"museum":311,"description":54478,"tags":54479,"thumbUrl":54480,"material":139,"size":139,"collection":139,"collections":54481,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},227968,"niu-tu-li-tang-227968","牛图","此作用边角构图铺展意境，淡墨晕染出山峦烟岚空蒙的朦胧质感，远山隐于虚淡暮色之中，将山野荒陂的清寂悠远铺陈开来。\n\n坡岸间三头水牛成为画面生机所在，两头抵角嬉闹，憨态尽显，另一头闲步缓行，悠然自得，将乡野牧歌的松弛意趣揉入淡远山水间。笔墨苍简疏朗，舍去繁复勾勒，以极简笔意烘托出空灵静谧的氛围感，尽显宋人简淡野逸之美，平朴画面藏着悠然禅意，将山野闲趣融于山水烟岚之中。",[7,23,27,29,151,808,177,557,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74b8ed2232c30132e78af099212babd.jpg",[],{"id":54483,"slug":54484,"title":54485,"dynasty":18,"author":42588,"museum":311,"description":54486,"tags":54487,"thumbUrl":54488,"material":139,"size":139,"collection":139,"collections":54489,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[7,23,24,81,173,29,1775,3019,865,3024,174,867,177,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":54491,"slug":54492,"title":31612,"dynasty":18,"author":278,"museum":311,"description":54493,"tags":54494,"thumbUrl":54495,"material":2164,"size":2165,"collection":139,"collections":54496,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[7,209,23,24,25,173,27,29,176,34,108,109,177,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":54498,"slug":54499,"title":54500,"dynasty":18,"author":278,"museum":311,"description":42000,"tags":54501,"thumbUrl":54506,"material":139,"size":139,"collection":139,"collections":54507,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},227365,"yu-lin-ku-003-ku-zhu-shi-bei-bi-yi-ming-227365","榆林窟003窟主室北壁",[7,538,243,27,11846,54502,17073,54503,21743,54504,54505],"平涂","曼荼罗图案","敦煌壁画风格","建筑元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88fe92d3e5fe184af3166998095e4d2.jpg",[],{"id":54509,"slug":54510,"title":54511,"dynasty":18,"author":9172,"museum":311,"description":54512,"tags":54513,"thumbUrl":54514,"material":2164,"size":2165,"collection":139,"collections":54515,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},227327,"za-shi-tie-shou-juan-liu-duan-wu-ju-227327","杂诗帖手卷六段","南宋吴琚《杂诗帖卷》手卷,以行、草书杂录前人诗句共十则,书于十纸之上,裱为六段,其中数则有缺佚字句。",[7,86,178,25,622,263,8289,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fdb64e7efcad543c74255e4b492a0a.jpg",[],{"id":54517,"slug":54518,"title":54519,"dynasty":54,"author":54520,"museum":311,"description":54521,"tags":54522,"thumbUrl":54523,"material":2164,"size":2165,"collection":139,"collections":54524,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},227242,"ba-gong-tu-juan-song-mo-ben-chen-hong-227242","八公图卷（宋摹本）","陈闳","此作画家颇与所绘人物颇有争议，现已不完整，只留存了后面六个画像，且卷首的第一个画像，除人物头、官帽、胸部和手是原迹外，其余皆为后人临摹和修补。",[7,209,23,24,25,28,27,106,105,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496e6aebfd254f8dadffa24ed830c6d7.jpg",[],{"id":54526,"slug":54527,"title":54528,"dynasty":54,"author":278,"museum":311,"description":54529,"tags":54530,"thumbUrl":54531,"material":139,"size":139,"collection":328,"collections":54532,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},227218,"wang-bo-ji-di-er-shi-jiu-juan-can-juan-yi-ming-227218","王勃集第二十九卷残卷","唐佚名、王勃集第二十九卷残卷残卷，纵25.2cm，横21.8cm，存十二行，每行十四至十五字不等。乌丝栏界。楮纸色偏灰白，有虫蛀纸背为平安时期日僧书写戒文，复经日本皮纸托裱。",[7,5153,25,86,621,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a5b00e03e821d0cab6ee22783e7428.jpg",[328],{"id":54534,"slug":54535,"title":54536,"dynasty":8433,"author":278,"museum":311,"description":54537,"tags":54538,"thumbUrl":54540,"material":2164,"size":2165,"collection":139,"collections":54541,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":49},226531,"diao-zun-mu-zhi-yi-ming-226531","刁遵墓誌","《刁遵墓志》也称《刁惠公墓志》。志文楷书，共二十八行，每行三十二字，原石刻北魏熙平二年（公元五一七年）。清雍正年间在河北省南皮县出土，其一角已残缺。\n此志书法浑穆峻劲，清包世臣评其：“《刁惠公志》最茂密。予尤爱其取势排宕，结体庄和。一波磔，一起落，处处含蓄，耐人寻味，不曾此中问津者，不知也。”风格近《郑文公碑》，是北魏墓志的重要代表作之一。",[7,621,620,86,54539],"墓志","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d4e69474e69d62b66e600a0b276350.jpg",[],{"id":54543,"slug":54544,"title":54545,"dynasty":76,"author":16577,"museum":311,"description":54546,"tags":54547,"thumbUrl":54548,"material":139,"size":139,"collection":139,"collections":54549,"showCount":684,"zanCount":48,"manualWeight":48,"mainColor":94},224490,"xing-fu-an-gan-jiu-tu-juan-wu-li-224490","兴福庵感旧图卷","《吴历兴福庵感旧图卷》是清代吴历创作的一幅画。\n本幅自题：“吾友笔墨中，惟默公交最深。\n予常作客，不为话别，恐伤折柳。\n庚戌清和，游于燕蓟，往往南传方外书信，意甚殷殷。\n辛亥秋冬，将欲赋归，意谓同此岁寒冰雪，而未及渡淮，闻默公已挂履峰头，痛可言哉。\n自惭浪迹，有负同心，招魂作诔，未足抒写生平，形于绢素，訾笔陨涕而已。\n却到昙摩地，泪盈难解空。\n雪庭松影在，草诏墨痕融。\n几树春残碧，一灯门掩红。\n平生诗画癖，多被误吟风。\n鱼雁几曾隔，赋归迟悔深。\n自怜南北客，未尽死生心。\n痴蝶还疑梦，饥鸟独守林。\n云看无限意，何事即浮沉。\n甲寅年登高前二日雨霁并书。\n桃溪居士吴子历。\n”钤“吴历”印一方。\n卷尾有许之渐、纪萌、张景蔚三家题记。\n甲寅为清康熙十三年（1674年），吴历时年4岁。\n此图是作者为怀念故友默容而作，一段长题简述了二人的交往，情深意切。\n画中描绘兴福庵的景物，寺外杂树丛竹，墙内孤松白鹤，本是一处清幽之所，然人去室空，满目凄清，透露出作者以笔墨寄托哀思的心境。\n树木勾点结合，层次分明，穿插自然，蜿蜒曲折的围墙加强了画面的纵深感，山石有皴有染，大面积的青绿敷色表现了真实自然的景致，是画家兼取宋、元画法而别具一格的代表作。",[7,23,24,25,27,29,178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为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ 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不详，南宋画家，宁宗嘉泰间（公元1201－1204年）任画院待诏。笔墨精致，色彩艳丽，形象准确，神情生动逼真。擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。其山羊走兽等亦富有情趣。有《文姬归汉图》、《四羊图》等传世作品。",[7,23,24,25,28,27,106,150,808,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f998cad5ff4a67c13137dc8f8c858a.jpg","30.4cm×549.6cm",[],{"id":55818,"slug":55819,"title":55820,"dynasty":76,"author":28599,"museum":20,"description":55821,"tags":55822,"thumbUrl":55823,"material":699,"size":55824,"collection":139,"collections":55825,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},231886,"zhong-qiu-hua-tu-yu-sheng-231886","种秋花图","该画为全景式构图，表现课童种秋花的情景。画心上半部以远山和绿树表现出秋高气爽的时节，下半部重点突出了此画的主题——种秋花。庭院中，有的童子在房前空地处种植，有的给种好的秋卉培土、浇水。画中秋卉缤纷，蜂蝶两三萦绕篱径。整幅画面生动活泼，色彩妍丽，悦人眼目，表现出太平盛世人们安居乐业的惬意生活。",[7,23,27,28,106,34,84,176,35,115,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdd685cefc1d1ead85b247370e33108.jpg","纵165.8厘米，横93.7厘米",[],{"id":55827,"slug":55828,"title":55829,"dynasty":99,"author":55830,"museum":311,"description":55831,"tags":55832,"thumbUrl":55833,"material":699,"size":55834,"collection":139,"collections":55835,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[7,23,24,25,173,244,177,263,86,178,29,229,34,865,35,33,1265,558,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 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因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[7,23,24,25,27,28,104,106,107,150,29,34,35,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":55877,"slug":55878,"title":55879,"dynasty":277,"author":55880,"museum":311,"description":55881,"tags":55882,"thumbUrl":55883,"material":139,"size":139,"collection":139,"collections":55884,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},231668,"jiang-hu-shi-dai-pu-tao-tu-li-zhou-li-yuan-xing-suo-231668","江户时代 葡萄图立轴","立原杏所","以枯涩劲健的笔墨挥写藤枝，顿挫苍劲间尽显老藤的野逸生机。叶片以泼墨晕染，浓淡干湿铺陈出层次肌理，墨色淋漓间尽现舒展之态。葡萄以没骨点染，颗颗饱满莹润，藤蔓蜿蜒缠绕，灵动写意。\n角落题字笔意随性洒脱，与画面融为一体，以极简笔墨攫取秋日藤架鲜活意趣，水墨虚实相生，将物象神韵与文人写意的朴拙雅致合为一处，尽显随性自在的花鸟意韵。",[7,23,225,173,400,2569,606,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd871be950dd160e3443e533436c470.jpg",[],{"id":55886,"slug":55887,"title":55888,"dynasty":277,"author":278,"museum":311,"description":55889,"tags":55890,"thumbUrl":55891,"material":139,"size":139,"collection":139,"collections":55892,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},231650,"mu-gui-tu-li-zhou-yi-ming-231650","牧归图立轴","这幅《归牧图》刻画细致生动，人、牛形神毕具",[7,23,24,209,225,27,28,177,151,106,1322,29,229,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":55894,"slug":55895,"title":35064,"dynasty":76,"author":22959,"museum":311,"description":55896,"tags":55897,"thumbUrl":55898,"material":139,"size":139,"collection":139,"collections":55899,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[7,23,24,25,173,29,734,2279,384,466,266,468,1265,3710,176,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":55901,"slug":55902,"title":55903,"dynasty":76,"author":17985,"museum":311,"description":55904,"tags":55905,"thumbUrl":55906,"material":139,"size":139,"collection":139,"collections":55907,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[7,23,24,225,173,177,29,176,865,109,35,1265,1267,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":55909,"slug":55910,"title":55911,"dynasty":76,"author":55912,"museum":311,"description":55913,"tags":55914,"thumbUrl":55915,"material":139,"size":139,"collection":139,"collections":55916,"showCount":652,"zanCount":2209,"manualWeight":48,"mainColor":49},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[7,23,24,225,173,27,28,177,29,5613,35,34,176,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":55918,"slug":55919,"title":55920,"dynasty":76,"author":7940,"museum":311,"description":55921,"tags":55922,"thumbUrl":55923,"material":139,"size":139,"collection":139,"collections":55924,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[7,23,27,29,106,4272,806,60,34,109,176,76,25,28,173,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":55926,"slug":55927,"title":55928,"dynasty":204,"author":22110,"museum":311,"description":55929,"tags":55930,"thumbUrl":55931,"material":2164,"size":2165,"collection":139,"collections":55932,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},230844,"huo-lu-tu-juan-li-zan-hua-230844","获鹿图卷","耶律倍（899年—937年1月11日），又名耶律突欲，赐名李赞华，是辽太祖耶律阿保机的长子，辽太宗耶律德光的长兄，辽世宗耶律阮的父亲。\n自幼聪颖好学，深得耶律阿保机的喜爱和器重，916年被立为皇太子。926年，封为东丹国王、称“人皇王”。926年太祖病逝后，耶律德光继位为帝。天显三年（928年）东丹国南迁，升东平为南京。同时耶律德光对耶律倍施以控制和监视。930年耶律倍弃国投奔后唐。936年后唐发生政变，耶律倍遇害，葬显陵。\n947年，耶律德光去世。耶律倍长子耶律阮最终夺回了皇位，追谥耶律倍为让国皇帝，庙号义宗。",[7,209,23,24,25,27,28,106,150,808,178,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c78c4635306e17df9bb76f00a59baf.jpg",[],{"id":55934,"slug":55935,"title":55936,"dynasty":277,"author":278,"museum":311,"description":55937,"tags":55938,"thumbUrl":55940,"material":2164,"size":2165,"collection":139,"collections":55941,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[7,27,20304,28,29,83,1365,866,3191,109,174,106,770,266,1059,55939,176,8729],"蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":55943,"slug":55944,"title":55945,"dynasty":277,"author":278,"museum":311,"description":55946,"tags":55947,"thumbUrl":55948,"material":2164,"size":2165,"collection":139,"collections":55949,"showCount":652,"zanCount":2209,"manualWeight":48,"mainColor":94},230529,"gu-hua-mo-ben-ma-yuan-deng-tu-juan-yi-ming-230529","古画模本(马远等图卷)","此作绘折枝白牡丹，以浅设色工笔写就。花瓣以淡墨轻勾轮廓，留白晕染出莹润肌理，层叠舒展如堆雪凝霜，将白花清贵柔雅的姿态尽显。叶片以青绿晕染，深浅过渡自然鲜活，枝叶偃仰有态，衬得牡丹愈发冰洁脱俗。\n\n画面取折枝一角取景，简淡清雅，无繁复铺陈，以极简笔墨烘托出牡丹自带的端方贵气，尽显院体花鸟的雅致意趣。勾勒晕染可见细腻功力，于素净底色里藏着幽隽诗意，淡远之中尽显传统花鸟写生的精妙意韵。",[7,23,25,83,28,27,369,263,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcf111fbb76a851ceea6d4d8ac6220c.jpg",[],{"id":55951,"slug":55952,"title":35588,"dynasty":76,"author":278,"museum":311,"description":55953,"tags":55954,"thumbUrl":55955,"material":139,"size":139,"collection":139,"collections":55956,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},230344,"cai-wen-ji-gui-han-tu-juan-yi-ming-230344","此作用简练白描绘就长卷行旅图景，笔线细劲苍古，随形勾勒，尽显古朴气韵。队伍排布疏密有致，前导擎旄扬旗、骑士策辔缓行，后卫整肃相随，间杂负囊驼队，暗合万里归途的厚重羁旅之感。\n\n人物神态各有不同，或肃穆凝然，或侧首顾盼，胡汉服饰细节暗藏身份之别，将归乡心绪的沉郁与队伍的威仪相融。人马姿态生动自然，动静相映，把漫漫归程的苍茫氛围徐徐铺展，古旧绢色晕染出岁月沉淀的厚重，让历史故事的沉郁质感满溢卷间。",[7,23,24,25,244,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633d534a82155b87bc779a8d224b9e64.jpg",[],{"id":55958,"slug":55959,"title":1472,"dynasty":76,"author":1473,"museum":311,"description":55960,"tags":55961,"thumbUrl":55962,"material":139,"size":139,"collection":139,"collections":55963,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},230235,"han-mei-yi-zhi-hua-jin-nong-230235","笔意清疏古拙，带着金石沉凝之气的题字，将访梅逸兴与旧游心绪相融。以袖里藏春暗合梅枝不随岁华凋残的品格，折梅入袖的雅事，呼应画中寒梅冷艳清嘉的风姿。淡墨绘就孤梅，极简构图衬出孤高疏淡风韵，诗画相生，借梅自喻，尽显清癯耿介的文人风骨。字句间漫着冷香幽韵，将赏梅、忆旧、寄怀揉作一处，淡而弥远，清而愈醇，尽显以文入画、画文同趣的扬州画派意趣。",[7,23,24,178,263,402,83,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7275f1b71fa722e04d1ac278389fe7b6.jpg",[],{"id":55965,"slug":55966,"title":55967,"dynasty":76,"author":52931,"museum":311,"description":55968,"tags":55969,"thumbUrl":55970,"material":2164,"size":2165,"collection":139,"collections":55971,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},230201,"shu-fa-zhong-tang-he-shao-ji-230201","书法中堂","何绍基（1799年—1873年），字子贞，号东洲，别号东洲居士，晚号猿叟（一作蝯叟），湖南道州（今道县）人，晚清诗人、画家、书法家。\n道光十六年进士。咸丰初简四川学政，曾典福建等乡试。历主山东泺源、长沙城南书院。\n何绍基通经史，精小学金石碑版。据《大戴记》考证《礼经》。书法初学颜真卿，又融汉魏而自成一家，尤长草书。著有《惜道味斋经说》《东洲草堂诗·文钞》《说文段注驳正》等。",[7,315,86,225,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e21ba33617a6406960aaa5eadbd0f0.jpg",[],{"id":55973,"slug":55974,"title":55975,"dynasty":76,"author":22355,"museum":311,"description":55976,"tags":55977,"thumbUrl":55978,"material":139,"size":139,"collection":139,"collections":55979,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[7,23,24,81,173,177,29,34,108,35,37,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":55981,"slug":55982,"title":55983,"dynasty":99,"author":278,"museum":311,"description":55984,"tags":55985,"thumbUrl":55986,"material":2164,"size":2165,"collection":139,"collections":55987,"showCount":652,"zanCount":2209,"manualWeight":48,"mainColor":49},228805,"luo-han-xiang-long-tu-yi-ming-228805","罗汉降龙图","画面高远错落，祥云缭绕出清寂禅意。红袍虬髯的罗汉怒目圆睁，正施法定住惊涛中翻腾的蛟龙，鳞爪张舞的蛟龙满是桀骜，与罗汉的沉凝威势碰撞出强烈张力。上方禅坐的尊者宝相安然，将下方的奔波动势收束于静谧禅机之内。\n\n周遭僧众神态各异，或垂目静思，或注目凝神，层层烘托出伏魔场面的庄严肃穆。石青朱砂的古雅敷色，晕染出佛绘特有的厚重威仪，细腻笔触将人物神态、蛟龙肌理刻画入微，把禅门降伏神通的玄妙意境铺陈开来，尽显工笔佛画的精湛造诣。",[7,23,24,939,243,28,27,106,433,176,109,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7b08be8a42e4de886d90750e888424.jpg",[],{"id":55989,"slug":55990,"title":55991,"dynasty":99,"author":278,"museum":311,"description":55992,"tags":55993,"thumbUrl":55996,"material":139,"size":139,"collection":139,"collections":55997,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},228778,"xian-ren-guo-hai-tu-yi-ming-228778","仙人过海图","画面绘两位仙人踏浪而行，左侧仙人虬髯光头，身披蓑草，双手捧持仙盏神态恭谨，身形桀骜野逸。右侧老者鹤发童颜，宽袍广袖，抬手作指点状，道骨仙风悠然自若。\n作者以刚柔相济的铁线勾勒衣纹，笔墨苍劲古拙，绢本底色晕染出沉雅古旧的质感。云水以曲线层叠铺陈，晕染出朦胧烟波，烘托出踏波而行的缥缈仙意。二人一动一静，神态相映，将仙家渡海的悠然清旷尽显笔端，尽显古雅飘逸的仙道逸趣。",[7,23,24,225,28,27,106,3191,16996,243,14474,939,9791,2158,55994,55995],"道教题材","海浪纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435e9e93246d4faa17ab0f80984af411.jpg",[],{"id":55999,"slug":56000,"title":999,"dynasty":76,"author":52205,"museum":311,"description":56001,"tags":56002,"thumbUrl":56003,"material":139,"size":139,"collection":139,"collections":56004,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},228484,"mu-niu-tu-zhang-mu-228484","此作以水墨铺就郊野溪谷之景，虬曲老木扎根荒滩，崖间飞瀑漱石，溪水蜿蜒漫过浅渚。群水牛或缓步就溪啜饮，或抵角相嬉，或蜷卧青草地休憩，神态憨然自在，将耕牛卸轭后的松弛尽显。笔墨朴拙写实，勾勒皴擦间，林石苍古荒率的野趣、水牛肌理的厚重质感一一浮现，似能闻得水草清腥，听哞哞牛鸣回荡溪山，将郊野牧歌式的闲逸悠然融于尺幅间，把山野生趣与静谧氛围揉合，于平淡笔墨中尽显自然真意。",[7,23,173,25,177,151,29,866,109,466,558,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0eca3394d51ce6da7ee2a9c0b498ddd.jpg",[],{"id":56006,"slug":56007,"title":6694,"dynasty":99,"author":35080,"museum":311,"description":56008,"tags":56009,"thumbUrl":56010,"material":139,"size":139,"collection":139,"collections":56011,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},228355,"luo-han-tu-song-xu-228355","此作用笔清隽沉稳，设色古雅柔和。主尊罗汉安坐岩穴，面含静穆，紫衣禅袍衣褶层叠凝练，抬手垂臂间自有出尘悠然气度。身前小沙弥身披朱红衲衣，俯身低首，以恭谨姿态衬得主尊静定庄严。背景枯木虬枝盘绕，苔点错落晕染出林麓荒寂，浅赭绢色晕染出幽谧山野氛围。画面以简淡笔触晕开禅意，将佛门清寂安然的林下修行之景，铺陈得静谧悠长，尽显平和冲淡的禅画意趣。",[7,23,24,939,243,106,27,229,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bb748de064a314fbc717671321fa39.jpg",[],{"id":56013,"slug":56014,"title":56015,"dynasty":99,"author":35080,"museum":311,"description":56016,"tags":56017,"thumbUrl":56018,"material":139,"size":139,"collection":139,"collections":56019,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[7,23,173,27,29,107,174,266,558,34,177,104,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":56021,"slug":56022,"title":56023,"dynasty":99,"author":18033,"museum":311,"description":56024,"tags":56025,"thumbUrl":56026,"material":139,"size":139,"collection":139,"collections":56027,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[7,23,24,81,27,173,29,177,557,37,109,108,107,34,266,175,176,1267,106,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":56029,"slug":56030,"title":56031,"dynasty":99,"author":1150,"museum":311,"description":56032,"tags":56033,"thumbUrl":56034,"material":139,"size":139,"collection":139,"collections":56035,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[7,23,24,25,173,29,177,263,86,178,176,34,31,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":56037,"slug":56038,"title":56039,"dynasty":189,"author":278,"museum":311,"description":56040,"tags":56041,"thumbUrl":56042,"material":139,"size":139,"collection":139,"collections":56043,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},228200,"si-ji-feng-zhu-tu-zhou-yi-ming-228200","四季风竹图轴","此作用水墨写就丛竹，老干挺拔苍劲，新篁清润秀雅，高低错落排布，枝叶俯仰有姿，似裹挟穿林风韵。运笔遒劲爽利，竹叶下笔如削，虚实相生间，以浓淡墨色铺陈出前后层次，将竹之清刚气节尽显。画面洗练空灵，无多余皴染，以极简笔墨写尽竹之潇洒风神，藏动于静，仿若可聆风穿叶隙之声，暗合君子凌霜傲雪的品格风骨，尽显文人以物咏志的意涵，是墨竹写意中颇具意趣的上乘之作。",[7,209,23,24,225,173,226,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3960b7cca53261a5c677339f49302fe7.jpg",[],{"id":56045,"slug":56046,"title":56047,"dynasty":189,"author":56048,"museum":311,"description":56049,"tags":56050,"thumbUrl":56051,"material":139,"size":139,"collection":139,"collections":56052,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},228176,"xuan-men-shi-zi-tu-hua-zu-li-228176","玄门十子图","华祖立","《玄门十子图卷》是元代画家华祖立、吴炳共同所绘的画作，现收藏于上海博物馆。\n该图根据元赵孟頫《十子图》石刻本和木刻本摹写而成。\n十子为春秋战国时期著名道家人物，再加上老子共十一人。\n这十位分别为尹喜、辛钘（音jian）、庚桑楚、南荣趎（音chu）、尹文、士成绮、崔瞿、柏矩、列御寇（列子）和庄周（庄子）。\n该图所绘十一位人物神情严肃、造型各异、不设背景，其侧书以与之相应的传记。\n技法上，笔法刚劲，描绘人物线条园转秀逸，婉转流畅，设色淡雅，反映了这十一人的仙风道骨。\n华祖立（元代活动于十四世纪），字唐卿，籍贯不详，擅画人物。\n吴炳（元代活动于十四世纪），字彦辉，河南开封人，擅书法。",[7,23,24,25,244,27,106,229,263,32058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc04f788d9b54ae5367fa0e9826ee7a.jpg",[],{"id":56054,"slug":56055,"title":9340,"dynasty":189,"author":2307,"museum":311,"description":56056,"tags":56057,"thumbUrl":56058,"material":139,"size":139,"collection":139,"collections":56059,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[7,209,23,24,25,173,177,29,31,34,12074,35,108,1265,1617,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":56061,"slug":56062,"title":47115,"dynasty":189,"author":13039,"museum":311,"description":56063,"tags":56064,"thumbUrl":56065,"material":139,"size":139,"collection":139,"collections":56066,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":629},228029,"fang-you-tu-zhao-yong-228029","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[7,23,27,29,177,106,175,34,108,109,1422,1423,866,266,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":56068,"slug":56069,"title":56070,"dynasty":18,"author":5793,"museum":311,"description":56071,"tags":56072,"thumbUrl":56073,"material":2164,"size":2165,"collection":139,"collections":56074,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},227978,"you-jun-shu-shan-tu-juan-ba-wen-liang-kai-227978","右军书扇图卷(跋文)","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元人赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[7,86,178,25,263,173,24,10998],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5eaef1cd544138440d4dec3fac1cad1.jpg",[],{"id":56076,"slug":56077,"title":56078,"dynasty":18,"author":11652,"museum":311,"description":56079,"tags":56080,"thumbUrl":56081,"material":139,"size":139,"collection":139,"collections":56082,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},227975,"yan-cun-qiu-ai-tu-li-an-zhong-227975","烟村秋霭图","这幅画以淡墨轻晕铺就烟霭秋郊，虚实相生间尽显幽远意境。左侧茂林攒聚，细密点染出秋叶苍润的质感，林梢掩映隐约村舍，藏着乡野的静谧烟火。右侧枯木斜倚水岸，孤清萧疏，与左侧的苍林形成疏密对照。\n\n画师以留白晕染烟水空濛，墨色浓淡自然过渡，将暮秋薄霭浮动的氛围感烘托得恰到好处，把秋日郊野的冷寂清旷尽数铺展。带着独有的平和疏淡意趣，将乡野秋日的萧散之美藏在朦胧烟色中，尽显淡远幽微的山水诗意。",[7,209,23,24,29,173,27,177,34,7944,471,109,865,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756c4f10a3cf56a3d7eba886bd268cd.jpg",[],{"id":56084,"slug":56085,"title":56086,"dynasty":18,"author":56087,"museum":311,"description":56088,"tags":56089,"thumbUrl":56090,"material":139,"size":139,"collection":139,"collections":56091,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","江亭揽胜图","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[7,23,24,1352,27,29,178,6868,1265,1365,12074,33,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":56093,"slug":56094,"title":56095,"dynasty":18,"author":56096,"museum":311,"description":56097,"tags":56098,"thumbUrl":56099,"material":2164,"size":2165,"collection":139,"collections":56100,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},227947,"gao-shen-juan-si-ma-ji-227947","诰身卷","司马伋","司马伋，字季思，夏县 （今属山西）人。高宗绍兴八年（一一三八），受诏以司马光族曾孙为右承务郎，嗣光后（《建炎以来系年要录》卷一二一）。",[7,86,25,178,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff464cca5cd099bcd067dfce8a06a7aa1.jpg",[],{"id":56102,"slug":56103,"title":56104,"dynasty":18,"author":278,"museum":311,"description":56105,"tags":56106,"thumbUrl":56107,"material":139,"size":139,"collection":139,"collections":56108,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[7,209,23,24,104,28,27,29,107,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d62944f11.jpg",[],{"id":56110,"slug":56111,"title":56112,"dynasty":18,"author":278,"museum":311,"description":56113,"tags":56114,"thumbUrl":56115,"material":139,"size":139,"collection":139,"collections":56116,"showCount":652,"zanCount":2209,"manualWeight":48,"mainColor":49},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","春游晚归图页","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[7,209,23,24,1352,27,28,104,106,150,34,107,1422,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":56118,"slug":56119,"title":56120,"dynasty":76,"author":26048,"museum":311,"description":56121,"tags":56122,"thumbUrl":56126,"material":2164,"size":2165,"collection":139,"collections":56127,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":629},226776,"ge-bei-song-shi-gu-wen-ben-ruan-yuan-226776","阁北宋石鼓文本","清代的阮元曾藏三名碑于阮氏祠堂，其中三碑刻为秦代《泰山碑》、东汉《华山碑》、三国吴《天发神谶碑》。此三碑被阮元列入“金石十件”之中。又有人称为“阮氏三宝”。据资料记载，阮元还曾摹刻过先秦时期的《石鼓文》，书法界称此为籀文的代表。\n篆书（甲骨文和象形文字）也是汉字的肇始。至今发现的先秦刻石文字遗存，最早的要属《石鼓文》，在书法史上属于大篆，也称“籀文”。该刻石于唐初被发现。原石作鼓形，共十石，分别刻有四言诗一首，径约三尺余。内容记述秦国君田猎之事，故又称“猎碣”。曾被弃于陈仓云野，故又称“陈仓十碣”。原石在天兴(今陕西宝鸡)三畤原，历经辗转，今石藏北京故宫博物院。后以拓本行世。阮元曾就《石鼓文》拓本摹刻，置于扬州。",[7,24,86,620,56123,1163,315,56124,56125],"碑帖","拓印技法","篆书笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c691a01af40ca52290d9ff2049f6876.jpg",[],{"id":56129,"slug":56130,"title":56131,"dynasty":8433,"author":278,"museum":311,"description":45312,"tags":56132,"thumbUrl":56133,"material":2164,"size":2165,"collection":139,"collections":56134,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},226529,"yuan-zuan-yuan-mu-zhi-yi-ming-226529","元钻远墓志",[7,620,86,621,36612,5406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6d619fca8afdca5dfad29e0e82973b.jpg",[],{"id":56136,"slug":56137,"title":56138,"dynasty":8433,"author":278,"museum":56,"description":56139,"tags":56140,"thumbUrl":56142,"material":621,"size":56143,"collection":2097,"collections":56144,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},226528,"yuan-qin-mu-zhi-yi-ming-226528","元钦墓志","北魏墓志中保存了许多史书未曾记载或载之不详的重要史料，《元钦墓志》为其一种。元钦是恭景穆帝之孙，官至侍中司空公开国侯，赠侍中太师、骠骑大将军、定州刺史。史书记载，公元528年，河北起义军将领葛荣率军进攻洛阳，北魏朝廷为之震动。尔朱荣受遣，率精锐骑兵至邺县，击溃义军，俘杀葛荣。尔朱荣也因此掌握了军政实权，并于同年，杀害无上王元劭、开始平王元子正等十三王及公卿以下两千余人。元钦墓志中的“上天不吊，降祸斯人”即喻元钦是这次政变的受害人之一。",[7,620,86,621,25111,56141,5406,32058],"魏晋南北朝风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b84b33fdb908748824e3060102eb11.jpg","高八二点八厘米，宽八六点一厘米",[2097],{"id":56146,"slug":56147,"title":56148,"dynasty":277,"author":34092,"museum":311,"description":34093,"tags":56149,"thumbUrl":56150,"material":2164,"size":2165,"collection":139,"collections":56151,"showCount":652,"zanCount":2209,"manualWeight":48,"mainColor":49},225296,"mo-tian-ben-dong-jing-zhen-hai-225296","魔天(本-东京)",[7,23,24,225,243,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ecd6bec9b4d5c029e5994c3a74d582.jpg",[],{"id":56153,"slug":56154,"title":19220,"dynasty":76,"author":18645,"museum":311,"description":56155,"tags":56156,"thumbUrl":56157,"material":139,"size":139,"collection":139,"collections":56158,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},224584,"shuang-ma-tu-yu-yuan-224584","此作用笔精细入微，两骏依偎伫立，霜色骏马在前，栗色良驹稍后，神态温驯雍容。鬃尾晕染丝缕分明，躯体肌理饱满写实，将骏马神骏却沉静的姿态刻画得淋漓尽致。画面右上题诗呼应画意，墨色雅致朴拙，与工稳的鞍马刻画相融，承继唐宋鞍马写实遗风，又融入文人意趣。敷色妍丽沉稳，古旧绢色更衬出画作静穆古雅的气质，整体简净清隽，状物精妙的同时兼具文墨情致，尽显良骏俊逸闲和之态。",[7,209,23,24,28,27,150,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf93d6b4b29bf71246809df96ec075a0.jpg",[],{"id":56160,"slug":56161,"title":56162,"dynasty":76,"author":4406,"museum":311,"description":56163,"tags":56164,"thumbUrl":56165,"material":2164,"size":2165,"collection":139,"collections":56166,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[7,209,23,24,225,173,29,177,1365,30,176,3024,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":56168,"slug":56169,"title":56170,"dynasty":76,"author":7940,"museum":311,"description":56171,"tags":56172,"thumbUrl":56173,"material":139,"size":139,"collection":139,"collections":56174,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},224462,"liu-an-jiang-zhou-tu-wang-hui-224462","柳岸江洲图","《柳岸江洲图》 是清代王翚作品，尺寸为95.5cm×41cm。\n现藏于天津市艺术博物馆藏。\n近景以浓重墨色画稀疏柳林。\n枝干参差，富于变化，远处群山，波状起伏，湖上轻舟，张帆而行。\n笔墨简练，干脆利落。",[7,209,23,173,29,174,1322,5614,33589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc47787a2a429be37b4a2e87319051f3.jpg",[],{"id":56176,"slug":56177,"title":56178,"dynasty":76,"author":1215,"museum":311,"description":56179,"tags":56180,"thumbUrl":56181,"material":139,"size":139,"collection":139,"collections":56182,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},224426,"fang-huang-zi-jiu-bi-yi-wang-shi-min-224426","仿黄子久笔意","此作用笔苍润松秀，以干笔皴擦勾勒山峦肌理，墨色层染清和淡雅，复刻出元人山水的萧散意趣。画面取高远平远结合之景，主峰巍峨矗立，山间留白以烟岚晕染，将重山包裹得灵动悠然。溪渚蜿蜒穿林而过，村居错落藏于茂林幽谷，坡岸林木扶疏，点染出江南山水温润清和之态。整体气息淡逸空灵，既追摹原作的简远苍浑，又融入自身温厚娴静的笔致，将文人寄情林泉、追慕古意的襟怀，尽藏在这尺幅江山之中。",[7,23,24,225,29,105,177,1842,34,109,35,734,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":56184,"slug":56185,"title":56186,"dynasty":76,"author":1215,"museum":311,"description":27530,"tags":56187,"thumbUrl":56188,"material":27533,"size":27534,"collection":139,"collections":56189,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8",[7,23,173,27,177,81,29,176,109,175,35,34,108,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg",[],{"id":56191,"slug":56192,"title":56193,"dynasty":76,"author":1929,"museum":311,"description":56194,"tags":56195,"thumbUrl":56196,"material":139,"size":139,"collection":139,"collections":56197,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},224295,"bai-shi-da-ji-tu-li-shan-224295","百事大吉图","此作用笔纵恣老辣，古松盘曲虬劲，皴擦勾勒间尽显苍古拙朴之意，团簇的松针以浓墨点染，蓬勃生机扑面而来。独立松枝的雄鸡兼工带写，浓墨点染头颈尾羽，淡墨晕染躯干，寥寥数笔便将雄鸡引吭长鸣的英武之态勾勒传神。\n画面借松、鸡谐音承载吉祥意趣，将文人写意的疏放与世俗吉庆寓意相融，笔墨挥洒间脱略陈规，尽显疏狂意气，是寄情于物、雅俗共赏的写意佳作。",[7,23,24,225,173,400,83,1365,2801,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114f2ba3c8a3d2ff5cb13dc84067253.jpg",[],{"id":56199,"slug":56200,"title":56201,"dynasty":76,"author":17859,"museum":311,"description":56202,"tags":56203,"thumbUrl":56204,"material":139,"size":139,"collection":139,"collections":56205,"showCount":652,"zanCount":2209,"manualWeight":48,"mainColor":94},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[7,23,24,225,27,29,177,734,384,31,1003,2137,38,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":56207,"slug":56208,"title":56209,"dynasty":76,"author":25976,"museum":311,"description":56210,"tags":56211,"thumbUrl":56212,"material":139,"size":139,"collection":139,"collections":56213,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[7,209,23,24,225,27,177,29,35,34,108,109,174,866,1423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":56215,"slug":56216,"title":1462,"dynasty":76,"author":25976,"museum":311,"description":56217,"tags":56218,"thumbUrl":56219,"material":2164,"size":2165,"collection":139,"collections":56220,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},224194,"shan-shui-tu-wu-hong-224194","吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。",[7,1352,23,173,177,29,866,176,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d02ac75ef5b73d4c0984f4926cabcc.jpg",[],{"id":56222,"slug":56223,"title":56224,"dynasty":76,"author":1563,"museum":311,"description":56225,"tags":56226,"thumbUrl":56227,"material":139,"size":139,"collection":139,"collections":56228,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[7,23,24,225,27,28,29,34,35,108,109,174,37,30,1365,4272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":56230,"slug":56231,"title":56232,"dynasty":76,"author":1563,"museum":311,"description":56233,"tags":56234,"thumbUrl":56235,"material":139,"size":139,"collection":139,"collections":56236,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[7,23,24,225,27,28,177,29,106,108,109,175,35,1365,176,966,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":56238,"slug":56239,"title":56240,"dynasty":76,"author":278,"museum":311,"description":56241,"tags":56242,"thumbUrl":56244,"material":139,"size":139,"collection":139,"collections":56245,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},223688,"li-tu-ye-yi-ming-223688","鲤图页","此作以工笔写鲤，细笔晕染鳞片刻画出硬挺莹润的质感，鱼鳍舒展灵动，双目圆睁有神，长须轻颤，将鲤鱼刚健灵动的身姿定格在破波欲跃的瞬间。淡墨轻勾水纹，线条柔婉清浅，不着浓色，仅以素雅晕染烘托池水静谧，一动一静相映成趣，把鲤穿波的鲜活生机尽显纸面。\n\n整幅画面清雅空灵，无冗余修饰，将对生灵的细致体察藏在笔触里，于留白间传递出含蓄的吉祥意趣，简淡中见精巧笔触，平淡中藏盎然生机，尽显传统花鸟小品的雅致意韵。",[7,209,23,24,81,28,27,783,56243],"鲤鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb693a3d05e3da75e3221a47a142fdca4.jpg",[],{"id":56247,"slug":56248,"title":56249,"dynasty":189,"author":278,"museum":311,"description":56250,"tags":56251,"thumbUrl":56252,"material":139,"size":139,"collection":139,"collections":56253,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[7,209,23,24,81,27,104,28,106,107,175,227,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":56255,"slug":56256,"title":56257,"dynasty":18,"author":278,"museum":9826,"description":56258,"tags":56259,"thumbUrl":56260,"material":139,"size":139,"collection":139,"collections":56261,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},223571,"xi-pan-gui-mu-tu-yi-ming-223571","溪畔归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。\n牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。",[7,23,24,27,28,177,29,109,151,106,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5951ff9e84033a61bc0d4c305cb17153.jpg",[],{"id":56263,"slug":56264,"title":56265,"dynasty":18,"author":278,"museum":311,"description":56266,"tags":56267,"thumbUrl":56268,"material":699,"size":56269,"collection":139,"collections":56270,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[7,23,209,225,27,177,29,734,1775,466,34,108,109,107,106,150,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":56272,"slug":56273,"title":28993,"dynasty":189,"author":278,"museum":206,"description":56274,"tags":56275,"thumbUrl":56276,"material":13665,"size":56277,"collection":139,"collections":56278,"showCount":652,"zanCount":2209,"manualWeight":48,"mainColor":49},223508,"lin-ting-qiu-se-tu-yi-ming-223508","沿江冈陵起伏，霜气已深，岁将暮矣。满山寒林卓立，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收网，朝起江村，各有所事。\n本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空阔，气象萧疏，使人凛然而有寒意。无款印。",[7,23,209,24,173,177,29,175,1423,866,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","27.5x50.7厘米",[],{"id":56280,"slug":56281,"title":56282,"dynasty":18,"author":278,"museum":20,"description":56283,"tags":56284,"thumbUrl":56285,"material":40,"size":56286,"collection":139,"collections":56287,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},223506,"song-yin-tan-dao-tu-ye-yi-ming-223506","松荫谈道图页","此图亦作《三教论道图》，图绘远处山峰连绵，近处一棵高大松树松杆遒劲，绿荫如盖；松荫下儒、释、道三位教徒或着长袍，或着叶装，端坐于松根、石块上谈经论道。此处环境清幽，阴凉静雅，似世外桃园般安逸。",[7,23,209,24,1352,28,27,106,1365,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833d44227db51604372db96ab56fde5d.jpg","25.3＊25.6cm",[],{"id":56289,"slug":56290,"title":56291,"dynasty":18,"author":278,"museum":206,"description":56292,"tags":56293,"thumbUrl":56298,"material":573,"size":56299,"collection":139,"collections":56300,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},223476,"zhe-kan-tu-ju-bu-yi-ming-223476","折槛图（局部）","此图用形象生动的笔触，描忠臣犯颜直谏，图绘了朱云在皇帝、公卿大臣面前犯颜直谏的景象。御林军正在拖朱云，朱死抱住栏槛不放，还在强辩。成帝侧身坐龙椅上，长须飘洒，满面怒容，目光杀气腾腾，与朱云针锋相对。奸相张禹则手捧笏板得意地站在成帝身边，满脸奸笑。辛庆忌正躬身为朱云求情。画面情节紧张而热烈，人物神情刻画细腻生动，富有鲜明的个性。线条遒劲有力，色彩鲜明强烈，确是一幅人物画的精品之作。",[7,209,23,28,27,106,3112,403,226,298,56294,56295,56296,56297],"龙椅","笏板","犯颜直谏","求情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326c2ce3f908eadcc8834818e4eed64e.jpg","纵173.9公分，横101.8公分",[],{"id":56302,"slug":56303,"title":56304,"dynasty":189,"author":278,"museum":1666,"description":56305,"tags":56306,"thumbUrl":56308,"material":1271,"size":56309,"collection":139,"collections":56310,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},223445,"han-lin-gui-qiao-tu-zhou-yi-ming-223445","寒林归樵图轴","远处孤山耸立，近处寒林对峙，画面空旷深远，尽显寒意料峭。图画上端有刘长卿所作诗《寻盛禅师兰若》，净慈寺平山处林禅师所书诗：“秋草黄花覆古阡，隔林何处起人烟，山僧独在山中老，唯有寒松见少年”",[7,23,173,225,29,1776,865,176,177,56307],"樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab559074d70afec98a2c35cecf05614.jpg","92.6＊48.9cm",[],{"id":56312,"slug":56313,"title":56314,"dynasty":18,"author":278,"museum":78,"description":56315,"tags":56316,"thumbUrl":56317,"material":67,"size":56318,"collection":139,"collections":56319,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},223378,"shi-liu-ying-zhen-du-hai-tu-juan-yi-ming-223378","十六应真渡海图卷","文中斯别开生面。形状奇怪夙所称，耳熟闻之目新见。苍鳞若龙若非龙，擎爪来闻法以现。第一。据树坐椸钵多罗，鸦鹊来餐香积饭。第二。飘然白鹤驾以降，屈眴七条披已惯。第三。数珠在手。第四。把明珠。第五。自摇箑其貌颟顸。第六。端立左铃而右杵。第七。扶童者迵顾彼崖。第八。是皆渡海履水物。水物狰狞名不辨。拍持具叶。第九。促舍汉。第十。白泽曳轮坐以晏。别有袖手乘骞槎。第十一。相参法喜作佳伴。据石入定若无人。第十二。牛哀跪伏如猫豢，傍见共谘二大士，其一默坐。第十三。一持扇。第十四。似步而迥更迥，第十五。臃肿披缁目光炫。第十六。跏趺相对谈二禅。云空。第十七。云色。第十八。色空幻，是为不二法之宗。绣居士说法编，向曾韵统考同文。位号次第订梵汉。莆田愚者不羁士。传神何碍后前舛。长歌笑我尚拘墟。山阴讶似镜中按。乾隆乙巳（1785）仲秋，御题。",[7,23,209,25,244,173,243,106,8436,808,176,34,2279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbfb5332900a9dfc823e81b021913cf.jpg","29X322",[],{"id":56321,"slug":56322,"title":56323,"dynasty":76,"author":12204,"museum":7116,"description":56324,"tags":56325,"thumbUrl":56326,"material":841,"size":56327,"collection":139,"collections":56328,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},223309,"fa-jie-yuan-liu-tu-juan-3-ding-guan-peng-223309","法界源流图卷-3","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[7,28,27,25,243,106,4636,2160,18311,7386,245,8436,11053,808,3861,1554,29,107,8037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be0fc022f890817bbffb782f3979ec.jpg","纵33厘米、横1635厘米",[],{"id":56330,"slug":56331,"title":56332,"dynasty":76,"author":18846,"museum":311,"description":18847,"tags":56333,"thumbUrl":56334,"material":699,"size":139,"collection":2097,"collections":56335,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},223275,"fa-tie-hong-yi-fa-shi-223275","法帖",[7,86,621,173,263,7024,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7095a65f0b56772d2c979363e6860997.jpg",[2097],{"id":56337,"slug":56338,"title":56339,"dynasty":76,"author":12204,"museum":206,"description":56340,"tags":56341,"thumbUrl":56342,"material":139,"size":56343,"collection":139,"collections":56344,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},223247,"ji-le-shi-jie-ding-guan-peng-223247","极乐世界","丁观鹏(？-1771后)， 清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物，尤擅仙佛、神像，以宋人为法，不尚奇诡，学明代丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。\n丁观鹏曾与弟弟观鹤同供奉于南熏殿。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有《摹宋人雪渔图》和《仿韩七子过关图》，均辑入《中国历代名画集》。",[7,23,28,27,12207,8566,104,8567,56339,7385,106,107,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1315eb66f2c58f05c6831040a5c918.jpg","横60x纵119cm",[],{"id":56346,"slug":56347,"title":56348,"dynasty":76,"author":11591,"museum":20,"description":23242,"tags":56349,"thumbUrl":56350,"material":23245,"size":23246,"collection":139,"collections":56351,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":703},223143,"shi-wan-tu-ce-7-ren-xiong-223143","十万图册7",[7,23,209,24,81,28,27,29,107,384,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a1b10828519dc13f4704bee941031.jpg",[],{"id":56353,"slug":56354,"title":56355,"dynasty":76,"author":11591,"museum":20,"description":23242,"tags":56356,"thumbUrl":56357,"material":23245,"size":23246,"collection":139,"collections":56358,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":703},223141,"shi-wan-tu-ce-5-ren-xiong-223141","十万图册5",[7,23,27,26,28,81,29,229,3191,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189bbf05898f4a844375d2898e2f33d.jpg",[],{"id":56360,"slug":56361,"title":56362,"dynasty":76,"author":7147,"museum":311,"description":56363,"tags":56364,"thumbUrl":56365,"material":27,"size":139,"collection":139,"collections":56366,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},223131,"qun-xian-tu-ren-xun-223131","群仙图","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[7,23,24,27,28,106,29,107,34,808,2279,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":56368,"slug":56369,"title":56370,"dynasty":76,"author":22959,"museum":206,"description":56371,"tags":56372,"thumbUrl":56373,"material":27079,"size":56374,"collection":181,"collections":56375,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},223113,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","柳浪闻莺御题轴","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[7,23,225,173,177,29,1322,1087,174,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","290x58厘米",[181,163],{"id":56377,"slug":56378,"title":7146,"dynasty":76,"author":7147,"museum":311,"description":7148,"tags":56379,"thumbUrl":56380,"material":139,"size":139,"collection":139,"collections":56381,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},223089,"shui-hu-ren-wu-ren-xun-223089",[7,23,24,225,27,28,106,2508,63,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8bcbc88ceb89b051d93d71a7863e2b.jpg",[],{"id":56383,"slug":56384,"title":7146,"dynasty":76,"author":7147,"museum":311,"description":7148,"tags":56385,"thumbUrl":56386,"material":139,"size":139,"collection":139,"collections":56387,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},223084,"shui-hu-ren-wu-ren-xun-223084",[7,23,24,106,28,27,244,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c69b7831b89491435ab19058724da7.jpg",[],{"id":56389,"slug":56390,"title":56391,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":56392,"thumbUrl":56393,"material":67,"size":2225,"collection":139,"collections":56394,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},222999,"hong-lou-meng-124-sun-wen-222999","红楼梦124",[7,23,28,27,25757,53213,1205,107,115,2158,1087,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe634b8a2479a7facb164cebb0f2fb17c.jpg",[],{"id":56396,"slug":56397,"title":56398,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":56399,"thumbUrl":56400,"material":67,"size":2225,"collection":139,"collections":56401,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},222984,"hong-lou-meng-109-sun-wen-222984","红楼梦109",[7,23,28,27,104,106,7024,34,1641,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858eab4cec4a5f22c722e84f1f2a69c0.jpg",[],{"id":56403,"slug":56404,"title":56405,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":56406,"thumbUrl":56407,"material":67,"size":2225,"collection":139,"collections":56408,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},222980,"hong-lou-meng-105-sun-wen-222980","红楼梦105",[7,23,28,27,106,1205,23254,16126,121,7216,150,865,27087,49040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173d1e044780feb5c210a6379f8cecd8.jpg",[],{"id":56410,"slug":56411,"title":56412,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":56413,"thumbUrl":56414,"material":67,"size":2225,"collection":139,"collections":56415,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":94},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[7,23,24,25,28,27,175,107,106,1322,806,176,264,1646,298,7061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":56417,"slug":56418,"title":56419,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":56420,"thumbUrl":56421,"material":67,"size":2225,"collection":139,"collections":56422,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},222960,"hong-lou-meng-85-sun-wen-222960","红楼梦85",[7,23,28,27,24,106,1205,107,30158,34,84,115,1646,25757,38081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5931b04bf779205467c8bc8bd7f07551.jpg",[],{"id":56424,"slug":56425,"title":56426,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":56427,"thumbUrl":56429,"material":67,"size":2225,"collection":139,"collections":56430,"showCount":652,"zanCount":48,"manualWeight":48,"mainColor":49},222948,"hong-lou-meng-73-sun-wen-222948","红楼梦73",[7,209,23,24,28,27,106,38079,9298,3830,25756,25757,59,56428],"博古器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6359730aa5e71398982eff2318bb16a0.jpg",[],{"id":56432,"slug":56433,"title":33551,"dynasty":76,"author":2214,"museum":1279,"description":2215,"tags":56434,"thumbUrl":56435,"material":67,"size":2225,"collection":139,"collections":56436,"showCount":652,"zanCount":48,"manualWeight":48,"mainCol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，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[7,23,209,225,173,177,29,175,384,226,283,282,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","画心：58×31.7厘米 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康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[7,209,23,24,225,173,83,369,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8fdff25619c14a805e8b449db935228.jpg",[],{"id":57199,"slug":57200,"title":7315,"dynasty":18,"author":1395,"museum":311,"description":57201,"tags":57202,"thumbUrl":57204,"material":2164,"size":2165,"collection":139,"collections":57205,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},288369,"jin-wen-gong-fu-guo-tu-li-tang-288369","此《晋文公复国图》卷为宋代画家李唐绘。全图分为六段，描绘了晋文公（重耳）被他父亲放逐在外十九年，最后回国即位的故事，每段左题据传为宋高宗赵构手书的《左传》中相关章节，卷末有乔篑成、石岩、吴宽等人的跋。此卷现藏于大都会艺术博物馆。",[7,209,23,24,25,2158,3112,244,27,113,114,1082,57203],"晋文公复国事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd91db8876f688881b3c4cf82766bb82.jpg",[],{"id":57207,"slug":57208,"title":15059,"dynasty":18,"author":278,"museum":311,"description":57209,"tags":57210,"thumbUrl":57211,"material":2164,"size":2165,"collection":139,"collections":57212,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},288279,"gui-qu-lai-ci-tu-yi-ming-288279","此作以诗画合璧，铺陈出隐逸山居的悠然日常。青绿浅设色晕染出远山浅渚、松篁茅堂，笔墨古拙温婉，带着沉静的古雅气质。\n\n画卷分段演绎归乡、雅集诸般场景：或策蹇归来、稚子相迎，或草堂清谈、把盏言欢，仆役往来洒扫，士人凭栏观山，动静之间，尽是园田居的澹泊意趣。题跋与绘事相映，将归园田居的旷达心境，具象为林下幽居的烟火雅事，把隐逸理想揉进古雅山居图景里，悠然意态溢于绢素。",[7,209,23,25,27,106,29,107,34,113,115,86,178,13620,18501,265,35,1640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c04b691699448370c5877a28ea83f.jpg",[],{"id":57214,"slug":57215,"title":57216,"dynasty":76,"author":7940,"museum":311,"description":29196,"tags":57217,"thumbUrl":57218,"material":2164,"size":2165,"collection":139,"collections":57219,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},288275,"shi-hua-ce-ye-10-zhen-wang-hui-288275","诗画册页10帧",[7,23,173,24,81,29,174,1365,176,86,263,177,14063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7369b0cd92479004403e2a8f52e7ae8.jpg",[],{"id":57221,"slug":57222,"title":7731,"dynasty":18,"author":278,"museum":311,"description":57223,"tags":57224,"thumbUrl":57225,"material":2164,"size":2165,"collection":139,"collections":57226,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},288226,"guan-pu-tu-yi-ming-288226","此作取边角式构图，左侧古松盘根错节，黛色繁荫如盖，与右侧悬垂的两道飞瀑相映成趣。飞泉撞入深潭，水雾隐隐，山岩以斧劈皴利落勾出嶙峋筋骨，墨色干湿浓淡铺陈出层叠景深。\n\n松下石滩，三两幽人凭坐观瀑，姿态松弛悠然，将林泉高致藏于咫尺团扇之间。整幅画作以小见大，以苍劲笔墨绘就山野之旷，又以闲逸人物点出寄情丘壑的雅怀，空灵悠远，尽得山水小品托景抒情之妙。",[7,23,1352,209,173,29,466,10895,558,109,106,18501,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d04f03ba4c1325ddad172776ab20637.jpg",[],{"id":57228,"slug":57229,"title":57230,"dynasty":99,"author":862,"museum":311,"description":52352,"tags":57231,"thumbUrl":57233,"material":2164,"size":2165,"collection":139,"collections":57234,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},288149,"xue-jing-shan-shui-tu-li-zhou-lan-ying-288149","雪景山水图立轴",[7,23,225,29,2019,865,57232,174,1776,176,177,27,20284],"茅亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d29f7d59862ce63fecb4304eeb3687.jpg",[],{"id":57236,"slug":57237,"title":57238,"dynasty":76,"author":1563,"museum":311,"description":50886,"tags":57239,"thumbUrl":57240,"material":2164,"size":2165,"collection":139,"collections":57241,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},288137,"lin-jiang-yuan-tiao-hua-yan-288137","临江远眺",[7,1352,23,173,29,865,229,226,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7734b687bbefac8a3c347f49789a2.jpg",[],{"id":57243,"slug":57244,"title":51070,"dynasty":76,"author":15455,"museum":311,"description":57245,"tags":57246,"thumbUrl":57248,"material":2164,"size":2165,"collection":139,"collections":57249,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},288135,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-288135","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[7,23,173,29,225,105,865,176,1265,57247,39908,263,86,14097],"平水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff76a5128c80eb99da06818edf285693f.jpg",[],{"id":57251,"slug":57252,"title":24041,"dynasty":99,"author":16949,"museum":311,"description":51198,"tags":57253,"thumbUrl":57254,"material":2164,"size":2165,"collection":139,"collections":57255,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},288104,"shan-shui-tu-ye-wen-bo-ren-288104",[7,23,209,173,29,177,107,34,174,263,86,4969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf7db49b02c17bf4b327893457d6e909.jpg",[],{"id":57257,"slug":57258,"title":57259,"dynasty":99,"author":10906,"museum":311,"description":38237,"tags":57260,"thumbUrl":57261,"material":2164,"size":2165,"collection":139,"collections":57262,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},288020,"hu-qiu-shan-tu-jing-xin-sun-zhi-288020","虎丘山图镜心",[7,23,24,1218,104,173,27,107,108,109,1755,1967,34,9343,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f35e696980bb7bf3cd169dfe3be2dd.jpg",[],{"id":57264,"slug":57265,"title":57266,"dynasty":99,"author":278,"museum":311,"description":57267,"tags":57268,"thumbUrl":57269,"material":2164,"size":2165,"collection":139,"collections":57270,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},287959,"fang-hui-zong-shui-zhong-ya-tu-yi-ming-287959","仿徽宗水中鸭图","淡墨绘双鸭悠游清波，翎羽纹理勾勒精细，水波晕开柔缓涟漪，将水禽自在舒展之态尽显。右侧坡岸汀花水草意态萧疏野逸，带着郊池幽寂之趣。\n\n画作追摹院体写生之致，工细间不失笔墨清简韵致，左侧题字古拙苍劲，书画相映成趣。整体将水禽灵动与汀渚静柔相融，把池沼一隅的安闲澹远定格，尽显古典雅致的写生意趣，晕开平和悠然的宋韵氛围感。",[7,23,25,209,28,173,83,2175,314,86,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ae8e7f2f631fe0ace89127baa242d3.jpg",[],{"id":57272,"slug":57273,"title":25004,"dynasty":99,"author":278,"museum":311,"description":57274,"tags":57275,"thumbUrl":57277,"material":2164,"size":2165,"collection":139,"collections":57278,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},287958,"yu-le-tu-yi-ming-287958","此作用淡墨晕染出一片清寂水泽，群鱼自在悠游：硕鲤摆尾缓行，姿态雍容，小鱼三两聚散穿梭，灵动鲜活，河虾隐于水藻间，意趣暗藏。以没骨技法写就，笔意清润简淡，不着一笔画水，却以留白衬出水波空濛之感，将水族的潜游、戏逐之态描摹入微，尽显水间蓬勃生机。\n\n画面点缀水荇、芦草，淡墨轻勾枝叶，愈发衬出郊野水泽的幽寂，将濠梁观鱼的悠然之趣藏于尺幅之中，尽显宋元写生一脉的清雅意韵，淡远萧散，把群鱼自乐的自在意态渲染得淋漓尽致。",[7,23,25,173,28,783,1819,314,57276,263],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cf8cdcd40ed604752a4af7afc1de65.jpg",[],{"id":57280,"slug":57281,"title":57282,"dynasty":76,"author":41568,"museum":311,"description":57283,"tags":57284,"thumbUrl":57285,"material":2164,"size":2165,"collection":139,"collections":57286,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},287934,"yang-liu-mu-niu-tu-wang-su-287934","杨柳牧牛图","《牧牛图》描写幽静的山谷间轻岚浮动，绿荫摇曳，一个顽皮的牧童骑坐于牛背上调鸟为乐。大牛步态沉着悠闲，稳健安详，小牛昂头追赶，步态急切而天真。作者以短促浓润的笔墨勾染坡树、人物，以干细的皴擦描绘水牛，通过刻画人、牛、鸟之问融洽和谐的关系，表达了作者寄情田园质朴平淡生活的理想",[7,23,225,27,173,106,151,12197,108,265,18501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57cf1e1cef8d99873130b6acd2b2a017.jpg",[],{"id":57288,"slug":57289,"title":57290,"dynasty":99,"author":17052,"museum":311,"description":57291,"tags":57292,"thumbUrl":57294,"material":2164,"size":2165,"collection":139,"collections":57295,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},287390,"si-xian-xi-he-tu-zhou-liu-jun-287390","四仙戏鹤图轴","刘俊（明），字廷伟，擅山水，入能品，人物亦佳。刘俊是明代的宫廷画家，授“锦衣都指挥”职。",[7,23,225,209,27,106,60,13899,402,57293],"戏乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77738dc25626e384db1ea3ba89e6ba20.jpg",[],{"id":57297,"slug":57298,"title":57299,"dynasty":189,"author":278,"museum":311,"description":57300,"tags":57301,"thumbUrl":57303,"material":2164,"size":2165,"collection":139,"collections":57304,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},287378,"fo-xiang-gua-zhou-yi-ming-287378","佛像挂轴","这对挂轴以云气串联起佛国诸相，上部佛陀安坐云端，法相沉静端严，衣褶古拙厚重。中层诸天护法神态各异，怒目金刚威赫凛然，胁侍菩萨慈悲雍容，线条劲挺凝练，朱砂石青晕染出浓郁古艳的宗教氛围感。\n\n下部清供瓶花珍玩，将佛国庄严融于人间烟火意趣，边饰缠枝纹样古雅端庄。画面虽经岁月侵蚀略有残损，却更添沧桑厚重，把元代佛画的肃穆古朴的信仰美学，与工笔设色的精致气韵融为一体。",[7,23,24,225,243,27,106,7385,4636,12210,57302,84],"供具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bb1738f7677ac605682d0434f35611.jpg",[],{"id":57306,"slug":57307,"title":57308,"dynasty":18,"author":278,"museum":311,"description":57309,"tags":57310,"thumbUrl":57311,"material":2164,"size":2165,"collection":139,"collections":57312,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},241558,"nan-song-ren-lin-li-yong-huan-shang-ren-tie-juan-yi-ming-241558","南宋人临李邕奂上人帖卷","此卷四段行书，首段墨色枯淡清隽，用笔圆劲灵动，牵丝映带间暗合晋唐萧散意韵。中段题评笔墨酣畅，字形欹侧相生，筋骨挺秀，尽得评骘书法的俊逸风神。后两段题跋渐趋沉实宽博，藏锋敛锷，干湿墨色交映，兼具唐法的端雅与宋意的洒脱。朱红鉴印错落排布，古雅印泥与旧纸墨色相衬，笔墨间流转着千年书法文脉的温润余韵，藏着历代藏家的珍视意趣。",[7,86,178,105,25,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7360e6da2bf06e39aa11b7a27da041a.jpg",[],{"id":57314,"slug":57315,"title":57316,"dynasty":76,"author":29696,"museum":311,"description":57317,"tags":57318,"thumbUrl":57319,"material":2164,"size":2165,"collection":139,"collections":57320,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},241455,"zhi-huang-yi-shu-zha-juan-weng-fang-gang-241455","致黄易书札卷","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[7,209,23,24,25,178,173,29,35,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2046f6985be116f7a0839c7580a05488.jpg",[],{"id":57322,"slug":57323,"title":57324,"dynasty":99,"author":38569,"museum":311,"description":57325,"tags":57326,"thumbUrl":57327,"material":699,"size":139,"collection":328,"collections":57328,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},241005,"zhi-ri-ren-zha-juan-wang-shou-ren-241005","致日仁札卷","王守仁（1472—1529），字伯安，别号阳明，浙江余姚人。弘治十二年（1499年）进士，官至南京兵部尚书、都察院左都御史。谥文成，后人称王文成公。明代著名的思想家、文学家、哲学家和军事家。",[7,24,86,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe737e04e12f5c183b7f73e90c68a017c.jpg",[328],{"id":57330,"slug":57331,"title":57332,"dynasty":54,"author":278,"museum":311,"description":57333,"tags":57334,"thumbUrl":57335,"material":139,"size":139,"collection":328,"collections":57336,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},239684,"guang-ming-zi-ri-ben-ti-za-a-she-jing-juan-di-nian-wu-juan-yi-ming-239684","光明子（日本）题杂阿舍经卷第廿五卷","这卷写经以小字行草抄录经文，通篇排布繁密却不显拥塞，字态灵动又不失书写的规整法度，带着唐人写经特有的朴拙清雅。墨色沉厚莹润，历经岁月经虫蛀略有破损，反而晕染出古旧苍茫的质感。朱笔圈点批注错落行间，是抄录校读时的留痕，更见抄写者的专注虔诚。\n\n书写既有恪守经文抄写的恭谨，又自然流露出行笔的舒展笔意，质朴间藏着内敛文气，静静承载着千年前的笔墨信仰与岁月温度。",[7,5152,86,25,243,621,5153,263,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb8301b3490a48815746b1d386cecb0.jpg",[328],{"id":57338,"slug":57339,"title":57340,"dynasty":189,"author":13039,"museum":20,"description":57341,"tags":57342,"thumbUrl":57343,"material":699,"size":57344,"collection":328,"collections":57345,"showCount":1093,"zanCount":2209,"manualWeight":48,"mainColor":94},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[7,25,24,86,178,173,263,402,1775,734,282,285,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[328],{"id":57347,"slug":57348,"title":57349,"dynasty":189,"author":20059,"museum":311,"description":57350,"tags":57351,"thumbUrl":57352,"material":139,"size":139,"collection":139,"collections":57353,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":255},239653,"shi-zha-juan-zhang-yu-239653","诗札卷","《元张雨小楷诗札卷》是元代书画家 创作的一幅书法作品。\n书于元至元六年（14），现藏于故宫博物院纸本小楷，通幅。\n张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n这件小楷，严整清和，洋溢着古风古韵，和其“道法自然”、“道可道，非常道”的道家审美标准有着一定的距离。\n在复古大旗指引下行进的元代书法，对于古法的承续，在书法史上可谓空前。\n元代的书法家对“晋韵唐风”多是一副沉迷状，张雨亦不例外。\n故宫博物院收藏的张雨的这件《诗札卷》（图为作品局部），书于元至元六年（14），系纸本小楷，通幅纵21.5厘米，横1.9厘米。\n从书法风格来看，张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n欧书用笔规范严整、体势刚劲险绝，是楷书中的巅峰之作。\n赵松雪称欧阳询书法“清劲秀健，古今一人”。\n张雨小楷在承续欧书基础上，又另僻蹊径地融入一些晋人萧散飘逸的灵动之气，为自己的书作增色不少。\n从用笔的感觉上来看，此卷小楷中一些横式笔画的习惯性动作，同民间的经生所创的“写经体”有着高度的契合，这是一个值得关注的问题，或许是因为张雨自身本来就是一个隐入丛林道观的高明的“经生书手”的缘故吧。\n在此作中，一些横势用笔的斜切、轻行、重按和轻入重收都和民间“写经体”书法保持着高度的一致。\n而其中一些放式用笔的体势，又使人怀疑此作系明人写的小楷。\n从明代祝枝山、王宠的小楷体例的斜欹体式的运用中，可体察出明代小楷书家们或多或少地受到了张雨小楷书风的影响。\n这种书风和取法的“代代承传”符合书法的客观发展规律。\n而张雨此卷“楷中插行”的书法体式则自赵松雪运用以来，已逐渐成为一种惯用的书法体例。\n这一体例还频繁地出现在他后来的小楷书作之中。\n和其同时代的倪云林，其后的张瑞图、黄道周、王铎等人的作品，也同样沿用了这一体例。\n张雨此卷中钤有“敬身”、“龙泓馆印”、“玉礼治印”、“龙尾山房”、“萧山蔡陆士藏玩书画钤记”、“金瘦仙青父箱长物”、“彭城观澜阁藏”等印记，也是流传有绪的一件作品。\n张雨（128-15），元代诗文家，号句曲外史，道名嗣真，道号贞居予，自称曲外史，人称句曲先生，钱塘（今浙江杭州）人，是宋崇国公张九成之后裔。\n其人学识渊博，善谈名理，诗文、书法、绘画，无一不通。\n曾师从虞集，与赵孟颡交好，后弃家为道士，居于茅山，拜茅山檀四十三代宗师许道杞弟子周大静为师。\n曾有人邀其进京为官，不就：著《句曲外史贞居先生诗集》，今存小令五首，曲风清丽淡雅。",[7,86,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaaa6eafb50e0619e08776e1ab9665a7.jpg",[],{"id":57355,"slug":57356,"title":57357,"dynasty":18,"author":13114,"museum":311,"description":57358,"tags":57359,"thumbUrl":57360,"material":139,"size":139,"collection":139,"collections":57361,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},239651,"wang-da-ling-bao-mu-zhuan-ti-ba-juan-jiang-kui-239651","王大令保母砖题跋卷","此卷笔墨清劲秀雅，笔致灵动舒展，暗合晋人萧散风神。题字疏密错落，墨色枯润相生，朱印点缀素纸，丹砂与墨色相映成趣，雅致尽显。\n\n题跋兼具金石考据的谨严与文人挥毫的随性，将考证之思寄于笔墨挥洒之中，书卷气扑面而来，是宋人尚意书风里的清雅典范。清冷隽秀的笔意一如作者词韵，尽显宋代文人淡远空灵的审美意趣，耐人反复品味。",[7,209,23,24,25,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb0fb92962b6cd0165bd6474876165a.jpg",[],{"id":57363,"slug":57364,"title":57365,"dynasty":18,"author":57366,"museum":311,"description":57367,"tags":57368,"thumbUrl":57369,"material":139,"size":139,"collection":139,"collections":57370,"showCount":1093,"zanCount":1337,"manualWeight":48,"mainColor":94},239649,"zi-shu-shi-lian-ju-shi-juan-wu-jun-239649","自书诗联句诗卷","吴浚","《自书诗联句诗卷》是宋年出版的图书，作者是吴浚。\n【名称】自书诗联句诗卷【年代】宋 【作者】吴浚 【类别】纸本，行书，手卷 【规格】纵6.2cm，横1cm，纵6.2cm，横141cm，79行，12字。\n本幅钤“山西”、“国”、“云根”、“虚谷”诸印。\n鉴藏印钤“生”、“南禺世史”、“丰氏人叔”、“云间邹氏珍藏”、“苕南吴氏午峰鉴赏”及项元汴诸印。\n卷后有宋朱鉴孙、翁□，明丰坊题跋。\n署年款“咸淳丁卯”，为咸淳三年（1267年）。\n此卷书法气秀色润，笔调谦和，点画精细柔媚，一钩一捺，均以温婉取态，反映了吴浚的典型书风。",[7,86,25,178,2570,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918438660d71677b30f9ca090b89abc0.jpg",[],{"id":57372,"slug":57373,"title":57374,"dynasty":99,"author":27897,"museum":20,"description":57375,"tags":57376,"thumbUrl":57377,"material":139,"size":139,"collection":328,"collections":57378,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":255},239581,"zhang-jin-xue-jie-juan-song-ke-239581","章进学解卷","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。\n宋克处元末明初，少年英俊，磊落清爽，常以李太白、苏东坡自比，任侠使气，闻鸡起舞。其聪慧过人，博涉经史，长于丹青，尤善画竹，今尚有《万竹图》传世。诗文亦名于时,与吴门文士高启、张羽、徐贲、陈则等为友，时称“十才子”。曾从元康里之入室弟子饶介学书，所传皆二王草法，故仲温特别钟情于草书。草书流走畅贯，挥运自如，似飞剑狂舞，潇洒纵横，十分契合于宋克任侠使气的性格。宋克学书取法甚高，楷宗钟繇，行书慕二王，章草学皇象之《急就章》，笔力清峭劲拔，笔意圆融洒脱，尤其是他的小草和章草，冠绝一代，吴宽评其书谓：“一克书出魏晋，深得钟王之法，故笔精墨妙，而风度翩翮可爱……仲温书索靖草书势，盖得其妙而无愧于靖者也。”其书出于魏晋，深得钟、王之法。擅长楷书、草书，尤精工章草，为当时第一。他的章草，延续赵孟頫、邓文原的风格又有所发展，融入了今草和行书的写法，更加流利、矫健。",[7,209,23,24,25,86,2570,39569,2403,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f41c8ec7ce88088c36ba2bd84e9fbde.jpg",[328],{"id":57380,"slug":57381,"title":37113,"dynasty":99,"author":57382,"museum":311,"description":57383,"tags":57384,"thumbUrl":57385,"material":139,"size":139,"collection":139,"collections":57386,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},239212,"bai-ma-tu-juan-xu-bao-239212","许宝","《百马图卷》作者明代 许宝。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n【名称】明许宝百马图卷 【年代】明 【简介】绢本，设色，纵：26cm，横：728.cm。\n现藏故宫博物院。\n是图卷首部分残破严重，卷尾署款“许宝”，钤印“ ”、“烟霞散人”。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n马匹以 勾勒，重彩填色，工细之处远胜南宋院体，与 的树石画风既形成鲜明的对比，又相融相汇形成一体。\n马群多处于静态，其微妙之处在于同为静态的马匹竟有着百种不同的姿态，可见作者有着很强的把握马匹细微活动的能力，同时画家也兼具了 和 的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[7,23,25,27,28,177,150,808,34,176,1003,468,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":57388,"slug":57389,"title":57390,"dynasty":76,"author":77,"museum":20,"description":57391,"tags":57392,"thumbUrl":57393,"material":1271,"size":139,"collection":139,"collections":57394,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[7,23,24,25,173,244,178,621,263,226,29,384,175,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":57396,"slug":57397,"title":57398,"dynasty":99,"author":17700,"museum":20,"description":57399,"tags":57400,"thumbUrl":57401,"material":1271,"size":139,"collection":139,"collections":57402,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[7,23,24,25,173,178,2570,106,384,4272,266,29,2310,1647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":57404,"slug":57405,"title":57406,"dynasty":76,"author":16965,"museum":1529,"description":43746,"tags":57407,"thumbUrl":57408,"material":1488,"size":43750,"collection":139,"collections":57409,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":4391},232901,"feng-zhu-tu-li-zhou-li-fang-ying-232901","风竹图立轴",[7,23,24,173,225,400,226,385,928,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9395c78f0d21c4a0ec265201cad2b525.jpg",[],{"id":57411,"slug":57412,"title":57413,"dynasty":99,"author":2494,"museum":523,"description":57414,"tags":57415,"thumbUrl":57416,"material":67,"size":57417,"collection":139,"collections":57418,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[7,23,24,225,173,177,29,176,34,106,1365,1265,5957,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],{"id":57420,"slug":57421,"title":57422,"dynasty":18,"author":278,"museum":311,"description":57423,"tags":57424,"thumbUrl":57425,"material":573,"size":57426,"collection":139,"collections":57427,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},232614,"guang-ming-si-tu-zhou-yi-ming-232614","光明寺图轴","此作用工细界笔勾勒层叠殿宇，朱红立柱搭配青灰飞檐，古雅色调晕染出绢本的岁月质感。楼阁随势错落排布，飞檐舒展翘拔，回廊辗转勾连，砖石地砖的格纹工整清晰，凭栏处点缀微小像影，衬以淡描林木，兼具古建考据价值与清雅画意。\n\n画师以界尺精准摹写斗拱榫卯的精妙结构，细致还原寺院庄严宏阔的形制，将中古佛寺的恢宏气度凝于绢素，带着严谨考据与雅致笔意，静静诉说着古寺往昔的肃穆风华，是古建界画中的难得佳作。",[7,23,209,225,104,27,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe066fd770eac49d2b7d51ac8e2a4f9ca.jpg","156.5×65.3厘米",[],{"id":57429,"slug":57430,"title":57431,"dynasty":18,"author":278,"museum":132,"description":57432,"tags":57433,"thumbUrl":57434,"material":67,"size":57435,"collection":139,"collections":57436,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},232601,"shi-jia-san-zun-xiang-li-zhou-yi-ming-232601","释迦三尊像立轴","画面中心释迦牟尼佛跏趺端坐于仰覆莲座上，头饰螺发，身着袈裟和僧裙，神态庄严慈祥；右手于胸前结说法印，左手结禅定印，为芸芸众生开示宇宙人生的真谛。身后有头光、身光，寓示佛陀智慧无边、法力无边。佛陀上方有两菩萨，下方有两罗汉，从其身色和肩帜来看，上方为普贤和文殊，下方为阿难和迦叶。释迦牟尼的莲座下承高大华美的金刚座。束腰处绘双子戏球，前方有诸珍宝供养，背景顶上饰宝伞华盖，空中飘浮五彩祥云。画面构图精当，布局传统，疏密有度，人物和景物勾勒精细，线条洗练简洁，造型质朴生动，设色古朴，和谐雅致，以暖色调为主，将画面烘托的圣洁与庄重，表现了极高的绘画水平。难能可贵的是品相完好，原装原裱，为不可多得的收藏与供奉佳品。",[7,23,24,1004,225,243,28,27,106,1554,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663a9a713f6fc8d5fa5c6021a681e6d3.jpg","198×111.5cm",[],{"id":57438,"slug":57439,"title":57440,"dynasty":277,"author":278,"museum":311,"description":57441,"tags":57442,"thumbUrl":57446,"material":139,"size":139,"collection":139,"collections":57447,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},231695,"jiang-hu-shi-qi-di-shi-wu-luo-han-tu-li-zhou-yi-ming-231695","江户时期 第十五罗汉图立轴","褐肤罗汉宝光护体，踞坐松石之下，虬髯深目自带威严沉静之气，团龙织金僧衣华贵雅致，手托丹丸，尽显尊者超凡气度。身前侍者躬身颔首，神态恭谨至极，主仆情态形成鲜明反差，生动勾勒禅门仪轨。\n\n背景古松盘虬苍劲，悬垂鎏金佛灯晕染出清幽肃穆的禅意氛围。整作线条顿挫凝练，设色雅致沉稳，衣纹晕染层次丰厚，将人物的神性与俗世情态刻画入微，尽显佛画写实功力，禅林静谧之韵扑面而来。",[7,225,23,243,27,106,28,34,18311,57443,46819,29716,56607,176,24637,57444,8043,57445,300],"小僧","服饰图案","跪姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc639c5a1ca97303fcca2c116d190498.jpg",[],{"id":57449,"slug":57450,"title":57451,"dynasty":277,"author":278,"museum":311,"description":57452,"tags":57453,"thumbUrl":57454,"material":2164,"size":2165,"collection":139,"collections":57455,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},231688,"ping-an-shi-dai-di-yu-cao-zhi-yi-ming-231688","平安时代 地狱草纸","绘卷以图文交错铺陈，将地狱酷刑具象铺展。赤裸罪人身受火雨灼烧、沸血沉溺之苦，肢体扭曲仓皇，粗粝线条勾勒出受罚者的惊惧绝望。浓烈朱红晕染的火焰与枯旧纸色撞色对冲，将炼狱的灼热暴戾铺散开来，古朴稚拙的笔触裹带着厚重威慑力。一旁的墨书与画作彼此呼应，将罪与罚的因果悄然诉尽，带着中古时代的肃穆警示，把幽冥苦楚直抵观者眼前，让这份对业报的刻画沉郁又撼人。",[7,243,25,27,173,106,17116,24,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e7a20f89a325f446a0e9a13a010a7.jpg",[],{"id":57457,"slug":57458,"title":57459,"dynasty":277,"author":278,"museum":311,"description":57460,"tags":57461,"thumbUrl":57464,"material":2164,"size":2165,"collection":139,"collections":57465,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},231677,"qing-feng-pu-bu-tu-yi-ming-231677","青楓瀑布図","整幅作品以飞瀑为骨，素白留白晕出水幕如银河垂落，撞向滩间黑石，激出层叠浪涛，笔绘水纹精细入微，将奔涌之势跃然纸上。\n\n斜出的青枫缀着翠色，柔化了瀑流的雄劲深峻，暗墨晕染的山壁衬得银练似的水瀑愈发通透。刚柔相衬间，将幽林飞泉的清寂禅意铺展开来，题字落款清雅融于画面，把山野间奔雷般的水势与枝桠垂立的安然相融，尽显东方山水写意的灵韵，藏着对山野幽居之趣的描摹。",[7,23,173,27,225,29,466,57462,57463,229],"青枫","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353240fc86d9ff3f2e1d951b0fe099c.jpg",[],{"id":57467,"slug":57468,"title":57469,"dynasty":277,"author":57470,"museum":311,"description":57471,"tags":57472,"thumbUrl":57473,"material":2164,"size":2165,"collection":139,"collections":57474,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":255},231664,"shi-ting-shi-dai-qin-gao-qun-xian-tu-xue-cun-zhou-ji-231664","室町时代 琴高群仙图","雪村周继","雪村周继（日语：雪村 周継，1504年－1589年），日本室町时代后期的禅僧画家与艺术家，出生于今日本本州岛中部的茨城县。他充分学习中国绘画技巧，为16世纪前后日本著名的水墨画画家之一。",[7,23,24,225,244,173,27,106,226,229,1640,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841033e7db0128542364452f7261ea9f.jpg",[],{"id":57476,"slug":57477,"title":57478,"dynasty":277,"author":278,"museum":1666,"description":57479,"tags":57480,"thumbUrl":57482,"material":699,"size":57483,"collection":139,"collections":57484,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[7,23,25,27,28,106,34,29,109,107,108,176,386,1205,57481,21110,266],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":57486,"slug":57487,"title":57488,"dynasty":76,"author":57489,"museum":1279,"description":57490,"tags":57491,"thumbUrl":57492,"material":1691,"size":57493,"collection":139,"collections":57494,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},231529,"xuan-shi-tu-li-fu-tang-231529","萱石图","李复堂","李鱓是扬州八怪中最早成名者，也是扬州八怪中唯一曾供职于康熙身边的画家，并应康熙命从蒋廷锡学艺，故画笔严谨而有书卷气。后返扬州，始纵笔大写，变得粗犷奔放，不拘一格。李鱓在戏剧性的一生中，接触到了当时包括墨骨、小写意、大写意各个派别的顶尖高手，并将粗笔与工细画两者进行了个性化的融合。李鱓是一个善于学习的人，他研究各家，并不是平均用力，而是有选择的学习自己需要的东西并加以消化融合，逐渐形成自家风貌。在他的笔下，既有明代浙派花鸟画的传统根底，又受到清代宫廷工笔花鸟和民间豪放花鸟画风的影响，因此他的作品既讲求造形构图，又讲求色墨的有机融合，这种绘画风格被后来的海派画家赵之谦、任伯年、吴昌硕等人继承，可以说，李觯堪称中国绘画史上起着承先启后作用的画家。\n《萱石图》以萱草为题材，描绘卧石与萱草相生相伴的情景。萱草是画家惯常表现的吉祥植物，古人认为萱草可以忘忧，因此又称其为“忘忧草”；又认为孕妇佩带萱草可以生男孩，因此又称萱草为“宜男”。图中作者自题诗点明了画意：“墨沉淋漓映袖寒，滥图赤棘傍阑干。凭君悬向闲庭馆，解却眉尖仔细看”。",[7,23,24,173,400,978,229,263,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce067b869dab8e3a386223f3e59b334.jpg","74X60cm",[],{"id":57496,"slug":57497,"title":57498,"dynasty":76,"author":7940,"museum":1529,"description":28240,"tags":57499,"thumbUrl":57500,"material":699,"size":57501,"collection":139,"collections":57502,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图",[7,23,209,1218,173,27,177,557,1082,1267,194,35,174,1087,31,27371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":57504,"slug":57505,"title":57506,"dynasty":76,"author":4406,"museum":132,"description":57507,"tags":57508,"thumbUrl":57509,"material":699,"size":57510,"collection":139,"collections":57511,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[7,23,24,225,29,27,177,105,734,384,31,558,1871,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":57513,"slug":57514,"title":57515,"dynasty":99,"author":26436,"museum":206,"description":57516,"tags":57517,"thumbUrl":57518,"material":4130,"size":57519,"collection":139,"collections":57520,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},231407,"xiao-xiang-ba-jing-ba-kai-zhang-fu-231407","潇湘八景八开","张復（1546—约1631），字元春，号苓石，江苏太仓人。少年时从钱榖学画，山水摹荆浩、关仝、马远、夏珪、黄公望、沈周，博采众长，晚年自成一家，为吴门画派名家。",[7,23,24,81,173,177,104,29,107,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d47fbd7178128b198163f92967b60e.jpg","40x36cm",[],{"id":57522,"slug":57523,"title":57524,"dynasty":76,"author":57525,"museum":1279,"description":57526,"tags":57527,"thumbUrl":57528,"material":637,"size":57529,"collection":139,"collections":57530,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},231354,"huan-hua-li-yin-tu-zhang-qia-231354","浣花吏隐图","张洽","此图绘写江南明媚春光。从题跋可知，此图是嘉善盐生王启焜赴四川监茶道时，张洽为其作的送行图，七位题跋者均为同时送行之人。",[7,23,173,177,29,734,282,108,34,35,37,9597,1365,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ca2fc160f4ec5491402f8bad41d44.jpg","32cmx99cm",[],{"id":57532,"slug":57533,"title":57534,"dynasty":189,"author":645,"museum":311,"description":57535,"tags":57536,"thumbUrl":57537,"material":139,"size":139,"collection":139,"collections":57538,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},231036,"xiang-ma-tu-ye-zhao-meng-fu-231036","相马图页","此作以人马为景，牵马老者袍服勾勒清劲挺括，敛眉垂目专注整饬缰绳，神态沉静内敛，尽显驯马时的安然肃穆。\n\n骏马躯干壮硕饱满，四肢劲挺修长，转首回望间灵动有神，鬃尾隐约带风，将神骏筋骨肌理晕染细腻逼真，笔墨兼工带写，设色古雅清淡，既追唐人鞍马的写实风骨，又融文人笔墨的雅致意趣。画面疏朗简约，以形写神，将人马间温婉呼应的微妙氛围尽显，古朴沉静间满溢古意，尽显鞍马题材画作的精妙意韵。",[7,209,23,24,81,27,28,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be06c53803a7a23406d3c79fb26d98b.jpg",[],{"id":57540,"slug":57541,"title":57542,"dynasty":18,"author":57543,"museum":311,"description":57544,"tags":57545,"thumbUrl":57546,"material":2164,"size":2165,"collection":139,"collections":57547,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},230560,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-230560","金刚般若经开题残卷","弘法大师空海","弘法大师空海（公元774—835）是日本真言宗的开山祖师，为汉传密宗八祖，作为日本弘扬佛法的先驱者享有崇高的声誉。大师在奈良时代末，于宝龟五年（公元774）诞生于风景秀丽的“玉藻所归之岛，櫲樟蔽日之浦”赞岐国（现香川县）屏风浦。其父为佐伯田公，母为阿刀氏。",[7,86,5152,25,178,243,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0893179b2d0c67d9aeaabae2404d729.jpg",[],{"id":57549,"slug":57550,"title":57551,"dynasty":277,"author":278,"museum":311,"description":57552,"tags":57553,"thumbUrl":57554,"material":2164,"size":2165,"collection":139,"collections":57555,"showCount":1093,"zanCount":2209,"manualWeight":48,"mainColor":94},230525,"fu-hua-zhen-yan-tu-xiang-man-tu-luo-juan-quan-tu-yi-ming-230525","佛画真言图像曼荼罗卷全图","此卷以素绢为地，朱红、石青、泥金敷色，满铺神佛诸天、护法印相与卷草云纹，经文题识错落点缀其间。构图绵密却秩序分明，将密宗曼荼罗的严整仪轨，融入唐绘绮丽笔致之中。神佛形象饱满灵动，衣袂线条柔婉劲细，设色调和古雅，神圣的宗教氛围与装饰美感相融。繁复造像排布不显拥塞，云气纹串联画面，既有密教仪轨的庄严规整，又不失中古绘画的秀逸古雅，尽显宗教绘画的精致法度与肃穆气韵。",[7,25,243,27,28,106,39400,8042,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d244be1b25048fd6371229130cb0f5b.jpg",[],{"id":57557,"slug":57558,"title":57559,"dynasty":277,"author":278,"museum":311,"description":57560,"tags":57561,"thumbUrl":57562,"material":2164,"size":2165,"collection":139,"collections":57563,"showCount":1093,"zanCount":2209,"manualWeight":48,"mainColor":94},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[7,23,24,25,27,2497,263,29,106,109,34,37,176,175,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":57565,"slug":57566,"title":57567,"dynasty":277,"author":16142,"museum":311,"description":16143,"tags":57568,"thumbUrl":57569,"material":2164,"size":2165,"collection":139,"collections":57570,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）",[7,23,24,225,173,177,29,176,1365,175,109,151,13000,866,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":57572,"slug":57573,"title":57574,"dynasty":76,"author":57575,"museum":311,"description":57576,"tags":57577,"thumbUrl":57578,"material":2164,"size":2165,"collection":139,"collections":57579,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},230295,"lin-sheng-jiao-xu-li-hong-zhang-230295","临圣教序","李鸿章","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[7,86,25,178,105,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689d84932e9309fab27ff7e5a4389dad.jpg",[],{"id":57581,"slug":57582,"title":57583,"dynasty":76,"author":18846,"museum":311,"description":29608,"tags":57584,"thumbUrl":57586,"material":2164,"size":2165,"collection":139,"collections":57587,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},230260,"zhuan-shu-si-ping-hong-yi-fa-shi-230260","篆书四屏",[7,315,1163,86,57585],"四条屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a485d4ce72f6a012fddc84f8d7dcf32.jpg",[],{"id":57589,"slug":57590,"title":57591,"dynasty":76,"author":55783,"museum":311,"description":55784,"tags":57592,"thumbUrl":57593,"material":2164,"size":2165,"collection":139,"collections":57594,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},230171,"li-zhou-hua-feng-lin-lun-jin-shi-yi-bing-shou-230171","立轴-画鳳麟伦金石",[7,86,5405,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ff3d1a14d793e1a5786b618bed3ad0.jpg",[],{"id":57596,"slug":57597,"title":57598,"dynasty":76,"author":38255,"museum":311,"description":57599,"tags":57600,"thumbUrl":57601,"material":2164,"size":2165,"collection":139,"collections":57602,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},228924,"qi-yan-jue-ju-gao-xiang-228924","七言绝句","高翔（1688--1753），字凤岗，号西唐，又号犀堂、西堂、樨堂等，别号山林外臣，擅画山水花卉，间作佛像人物。篆刻与汪士慎、丁敬齐名。又与高凤翰、潘西凤、沈凤并称四凤。高翔少年时期崇尚石涛，后与石涛结识为友，常相往来，情谊深长，受益颇深，是石涛的挚友和忠实追随者。\n高翔晚年时由于右手残废，常以左手作画。与石涛、金农、汪士慎为友。清朝的李斗在《扬州画舫录》中有过这样的记载：“石涛死，西唐每岁春扫其墓，至死弗辍”。意思是说，石涛死后，高翔每年春天都去扫墓，直到死都没有断过。从这里也可以看出他们之间的友谊很深。\n高翔除擅长画山水花卉外，也精于写真和刻印。他的山水画取法弘仁和石涛，所画的园林小景，大多是从写生中来。金农、汪士慎诗集上的小像，就是高翔的手笔，线描简练，神态逼真。著有《西唐诗钞》，“扬州八怪”之一 。",[7,86,5405,173,263,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840829472f15aa851faf55eed47b0888.jpg",[],{"id":57604,"slug":57605,"title":57606,"dynasty":99,"author":817,"museum":311,"description":27771,"tags":57607,"thumbUrl":57608,"material":2164,"size":2165,"collection":139,"collections":57609,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞",[7,23,24,25,178,173,1365,692,4272,176,737,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":57611,"slug":57612,"title":3108,"dynasty":99,"author":278,"museum":311,"description":57613,"tags":57614,"thumbUrl":57615,"material":139,"size":139,"collection":139,"collections":57616,"showCount":1093,"zanCount":2209,"manualWeight":48,"mainColor":49},228783,"ru-bi-tu-yi-ming-228783","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[7,23,24,209,25,28,27,106,107,108,109,175,150,29,34,176,149,4140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":57618,"slug":57619,"title":50000,"dynasty":99,"author":2146,"museum":311,"description":57620,"tags":57621,"thumbUrl":57622,"material":139,"size":139,"collection":139,"collections":57623,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},228483,"wen-dao-tu-ye-tang-yin-228483","此作为绢本设色团扇小品，取边角式构图，右侧古木虬曲苍劲，疏枝带叶，晕染出清寂秋意。江岸石径之上，策鹿老翁宽袍缓行，神态悠然自得，侍童负杖紧随其后，主仆二人身影闲逸萧散。远景江波澹澹，远山隐现于烟霭间，留白烘托出悠远空寂的林下氛围。\n\n笔墨清简写意，人物线条简练传神，老者的安闲与灵鹿的轻跃相互映衬，将文人幽游林泉的隐逸雅趣，融于咫尺团扇之中，尽显萧散淡远的林下高致。",[7,23,24,81,27,106,29,384,4778,808,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ec7fe90818314ddf0126d45643bc90.jpg",[],{"id":57625,"slug":57626,"title":57627,"dynasty":99,"author":862,"museum":311,"description":57628,"tags":57629,"thumbUrl":57630,"material":139,"size":139,"collection":139,"collections":57631,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[7,23,24,225,27,173,177,29,384,1365,108,106,107,283,37,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":57633,"slug":57634,"title":57635,"dynasty":99,"author":13039,"museum":311,"description":57636,"tags":57637,"thumbUrl":57639,"material":139,"size":139,"collection":139,"collections":57640,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},228401,"yu-dong-qun-xian-tu-zhao-yong-228401","玉洞群仙图","青绿晕染出层叠仙山，苍松虬枝斜曳，桃林漫山绽花，幽谷间烟云轻漾。群仙散游林泉：或围坐松下清谈，或策杖寻幽揽胜，或凭崖临流遐观，情态自在萧散，尽得世外雅逸之趣。\n\n全卷气息清灵古雅，山水与人物相融无间，青绿妍丽厚重，人物笔致简逸传神，烘托出洞天幽寂出尘的氛围。卷后题咏呼应画境，诗画合璧，将文人梦寐中的栖隐仙乡藏于尺幅之间，尽显世外仙乡的出尘之致。",[7,23,24,25,939,27,28,29,106,57638,34,176,178],"群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85733ce0975ae279b032bedb227bdbd2.jpg",[],{"id":57642,"slug":57643,"title":57644,"dynasty":99,"author":6896,"museum":311,"description":57645,"tags":57646,"thumbUrl":57647,"material":139,"size":139,"collection":139,"collections":57648,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[7,23,24,81,27,173,29,285,175,34,2310,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":57650,"slug":57651,"title":57652,"dynasty":99,"author":278,"museum":311,"description":57653,"tags":57654,"thumbUrl":57655,"material":139,"size":139,"collection":139,"collections":57656,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},228350,"chun-jiang-xing-zhou-tu-ye-yi-ming-228350","春江行舟图页","近景峭峰被苍林簇拥，山石皴染细腻，草木氤氲温润生机。江面烟波澹澹，远岸晕作朦胧黛色，留白晕出濛濛水汽，晕染出暮春江天的辽远空寂。几叶扁舟缓行江上，帆影悠悠，将水居行旅的松弛闲散揉入开阔江境。\n\n此作用色雅致淡逸，以小青绿晕染山峦，无浓艳堆砌，尽显清隽澹泊。尺幅之间藏千里之势，静山与动舟相映，把春江暮景的悠然意境铺展尽致，揽入江南水天的温柔清寂，观之如沐江上春风，得小品山水的澹远意趣。",[7,23,24,5604,27,29,11383,34,557,6868,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ea2a72ac10508a352aa6f165a194fc.jpg",[],{"id":57658,"slug":57659,"title":57660,"dynasty":99,"author":16327,"museum":311,"description":57661,"tags":57662,"thumbUrl":57663,"material":2164,"size":2165,"collection":139,"collections":57664,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},228340,"song-chen-zi-ling-hui-shi-shi-ye-wang-chong-228340","送陈子龄会试诗页","王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。",[7,86,178,24,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe52e5ea085681326edf964a9c7510da5.jpg",[],{"id":57666,"slug":57667,"title":57668,"dynasty":99,"author":4301,"museum":311,"description":57669,"tags":57670,"thumbUrl":57671,"material":139,"size":139,"collection":139,"collections":57672,"showCount":1093,"zanCount":2209,"manualWeight":48,"mainColor":94},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[7,23,24,25,173,28,178,29,106,175,108,109,34,558,1269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":57674,"slug":57675,"title":57676,"dynasty":99,"author":5076,"museum":311,"description":57677,"tags":57678,"thumbUrl":57679,"material":2164,"size":2165,"collection":139,"collections":57680,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},228277,"da-mo-yi-wei-du-jiang-tu-chen-ji-ru-228277","达摩一苇渡江图","一苇渡江是达摩祖师的宗教故事。达摩传说渡过长江时，并不是坐船，而是在江岸折了一根芦苇，立在苇上过江的。",[7,23,24,225,243,27,106,178,263,109,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0240dfce7c73589d32eb17587517aa.jpg",[],{"id":57682,"slug":57683,"title":57684,"dynasty":189,"author":22031,"museum":311,"description":57685,"tags":57686,"thumbUrl":57687,"material":139,"size":139,"collection":139,"collections":57688,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[7,23,24,225,173,177,29,176,466,34,468,1265,5957,38,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":57690,"slug":57691,"title":57692,"dynasty":189,"author":278,"museum":311,"description":57693,"tags":57694,"thumbUrl":57695,"material":2164,"size":2165,"collection":139,"collections":57696,"showCount":1093,"zanCount":2209,"manualWeight":48,"mainColor":49},228196,"lu-mei-niang-xiang-yi-ming-228196","卢媚娘像","无情似有情，却话又无声。漫拟桃花面，悠然何处行。卢媚娘是唐永贞年间的一位奇女子，先是以绣工被顺宗“谓之神姑”，而后“度为道士，放归南海”，神迁后“后人见往往乘紫云游于海上”。",[7,23,28,244,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccf28dfa8f0d75e3455b23645c3794b.jpg",[],{"id":57698,"slug":57699,"title":42811,"dynasty":18,"author":6864,"museum":311,"description":57700,"tags":57701,"thumbUrl":57702,"material":139,"size":139,"collection":139,"collections":57703,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},227985,"yin-yan-fei-pu-tu-jiang-can-227985","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[7,23,24,209,225,29,177,5967,1080,34,176,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":57705,"slug":57706,"title":57707,"dynasty":18,"author":278,"museum":311,"description":57708,"tags":57709,"thumbUrl":57710,"material":139,"size":139,"collection":139,"collections":57711,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227911,"zhu-jian-yuan-yang-tu-yi-ming-227911","竹涧鸳鸯图","这幅小品以边角取景，将幽寂山涧铺陈于尺幅之间。右侧崖壁古木斜出，新篁附石抽梢，苔痕历历；崖下茅舍半隐，野径蜿蜒，慢慢没入淡远平芜。\n\n画面左侧清空之上，禽鸟振翅穿空，将山涧的静气轻轻划破。淡墨晕染烟岚，远景虚渺朦胧，近景的竹、木、石以细劲勾勒间施皴擦，质感宛然。全作以简驭繁，不着浓艳，仅以水墨层次区分远近虚实，把江南山隅无人惊扰的闲逸尽数凝住，似可听闻涧水轻响、林风穿叶，将宋人寄情林泉的幽淡襟怀融在尺幅之中，余韵悠悠。",[7,23,1352,28,27,29,226,109,2053,83,266,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68574cd4486c08d626211cf6dab797a.jpg",[],{"id":57713,"slug":57714,"title":999,"dynasty":189,"author":278,"museum":311,"description":57715,"tags":57716,"thumbUrl":57717,"material":139,"size":139,"collection":139,"collections":57718,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227897,"mu-niu-tu-yi-ming-227897","此作用色古雅沉静，青绿晕染山峦坡岸，暖黄绢底晕开春日郊野的温润柔意。垂柳为画面主角，柔婉笔意写出枝条，柳丝如烟似雾，随风轻曳，将江南春野的柔媚尽数晕开。\n坡岸浅滩间，牛群闲散啃食，寥寥数笔便勾勒出憨态，野趣横生。整体简淡疏朗，无繁复皴染，以写意笔调铺展田园意韵，将郊原恬适安宁的春日氛围缓缓晕开，带着萧散淡远的悠然意趣，观之如临春日郊野，身心皆浸在松弛静谧之中。",[7,23,27,29,106,151,1322,557,866,1003,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9473190e7c32d42ef3f7cf7f0e2429ac.jpg",[],{"id":57720,"slug":57721,"title":57722,"dynasty":18,"author":278,"museum":311,"description":57723,"tags":57724,"thumbUrl":57726,"material":139,"size":139,"collection":139,"collections":57727,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227887,"jiang-shang-qing-feng-tu-yi-ming-227887","江上青峰图","采用边角式取景，右下隅青峰峭立，青绿敷色晕染石身，深墨点簇林木，尽显山石挺秀之姿。空阔江面铺陈开淡远烟波，几叶扁舟悠然泛于粼粼水波之上，将江南水色的清旷柔婉与峰石苍劲相融。\n\n咫尺扇面间以小见大，铺展出江天寥廓的无尽余韵，把烟波江上的空寂悠然藏于方寸，尽显对山水诗意的精微捕捉，带着宋代院体山水雅致清隽的意趣。",[7,209,23,24,1352,27,26,29,177,174,57725,6868],"青峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ce79053f855d19971de523413bbc8.jpg",[],{"id":57729,"slug":57730,"title":57731,"dynasty":18,"author":278,"museum":311,"description":57732,"tags":57733,"thumbUrl":57734,"material":139,"size":139,"collection":139,"collections":57735,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[7,23,24,173,27,29,104,81,177,107,34,109,194,1265,37,6231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":57737,"slug":57738,"title":57739,"dynasty":18,"author":278,"museum":311,"description":57740,"tags":57741,"thumbUrl":57742,"material":139,"size":139,"collection":139,"collections":57743,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227878,"liu-ge-feng-fan-tu-yi-ming-227878","柳阁风帆图","水岸垂柳如烟似雾，柔条轻拂水面，将满幅晕开融融绿意。右侧高阁临水而立，凭栏之人悠然远眺，将闲逸心绪融浸在湖光里。湖面轻舟扬帆趁风缓行，波光漾开静穆氛围，把远水近岸织作一卷清和夏景。\n\n画家以没骨晕染柳色，晕出江南水泽的湿润氤氲，人物虽形微却神态宛然，留白处暗写烟波浩渺。将寻常水乡日常定格在团扇之上，尽显宋人观照日常、寄情山水的审美意趣，淡墨轻岚里，尽是江南水乡的温柔况味，简淡悠长，余韵悠悠。",[7,23,1352,27,29,2607,107,108,109,3660,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392a3f08216ede90bf6be33b7dbee93e.jpg",[],{"id":57745,"slug":57746,"title":57747,"dynasty":18,"author":278,"museum":311,"description":57748,"tags":57749,"thumbUrl":57750,"material":139,"size":139,"collection":139,"collections":57751,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},227861,"dou-que-tu-ye-yi-ming-227861","斗雀图页","《斗雀图页》宋代画家佚名创作的一幅绢本设色画。\n本幅无款识。\n鉴藏印钤“真赏”、“庞莱臣珍藏宋元真迹”、“珍秘”、“宜尔子孙”、“丹诚”、“都尉耿信公书画之章”、“信公珍赏”、“公”、“会侯珍藏”、“绍勋”。\n裱边钤“信公监定珍藏”印。\n对幅有耿昭忠题记：“黄居寀能世其家学，点染具简澹野逸之致。\n画史以黄家富贵评之，未必无议。\n千山耿信公。\n”虽题为黄居寀作，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。\n善于抓住瞬间的精彩场面来表现自然界的勃勃生机，是宋人小品的特色之一。\n本幅绘两只小雀在平坡之上嬉戏争斗，滚作一团。\n画家采用虚实结合、突出重点的画法，于雀的翅、尾翎毛只是粗写动态，头、腹毛羽更是淡染轻描。\n着力加以刻画的是雀之爪、喙和二雀相互逼视的双目。\n图中占上风之雀，左爪紧抓住对方的喙，右爪紧握对方的爪，正待欲啄，其喙却也被对方死死地抓住，形成谁也啄不得的僵持局面，颇有情趣。\n两只小雀皆羽翼大张，动感和力度在此充分体现。\n此情此景万难想象而成，当是细致观察所得。",[7,23,24,209,4850,28,173,266,4541,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75d11a386f36142cfbf9e834d6e91cc.jpg",[],{"id":57753,"slug":57754,"title":42361,"dynasty":18,"author":278,"museum":311,"description":57755,"tags":57756,"thumbUrl":57757,"material":139,"size":139,"collection":139,"collections":57758,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227837,"ren-wu-tu-yi-ming-227837","此作以沉凝古雅的色调铺出院苑闲景，虬曲古松与繁密木叶相互掩映，半露的亭台衬出院囿雅致静谧的氛围。画面人物情态细腻分明，主客凭坐悠然，侍女环伺左右，或低眉静立，或趋前奉侍，仆从躬身待命，将深宅世家松弛闲适的日常缓缓铺陈。衣纹线条清劲简练，虽年深迹暗，仍能窥见宋人对人物仪态的精准拿捏，内敛沉静的笔意晕染出宋代世俗画特有的写实意趣，将旧时世家的日常闲韵定格在斑驳绢素之上，尽显古典人物画雅致沉静的审美意涵。",[7,23,24,209,28,27,106,866,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F887c9aacff0d1120952107c66b982a30.jpg",[],{"id":57760,"slug":57761,"title":57762,"dynasty":18,"author":676,"museum":311,"description":57763,"tags":57764,"thumbUrl":57765,"material":139,"size":139,"collection":139,"collections":57766,"showCount":1093,"zanCount":2209,"manualWeight":48,"mainColor":49},227604,"wu-zhong-san-xian-tu-juan-li-gong-lin-227604","吴中三贤图卷","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[7,209,23,24,25,244,27,106,86,178,263,5153,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a8d47955d7901c90829f8ca4228c24.jpg",[],{"id":57768,"slug":57769,"title":14915,"dynasty":18,"author":676,"museum":311,"description":57770,"tags":57771,"thumbUrl":57772,"material":139,"size":139,"collection":139,"collections":57773,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227582,"xiao-jing-tu-juan-li-gong-lin-227582","李公麟，北宋著名画家，字伯时，号龙眠居士，北宋舒州(今桐城)人。其白描绘画为当时第一，《宣和画谱》第七卷评价他的作品曰：“(龙眠)尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。”\n\n《孝经》大约成书于公元前350-公元前200年，在北宋时被列入“十三经”，成为儒家经典之一。李公麟的话中加入了他对孝道的理解，作品将道德承载功用与书法功底结合，以及宋人以书法来翻译古人模拟自然的画法。",[7,209,23,24,25,244,173,106,107,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750ead0dcaa7216f7a4c885b5bc5545.jpg",[],{"id":57775,"slug":57776,"title":57777,"dynasty":18,"author":278,"museum":311,"description":57778,"tags":57779,"thumbUrl":57780,"material":139,"size":139,"collection":139,"collections":57781,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227385,"qun-yan-tu-ye-yi-ming-227385","群雁图页","在中国绘画艺术的发展长河中，占据一隅的佚名绘画对艺术发展的推动力不容忽视。宋代良好的文化环境对于绘画的推动，一方面体现在精英画家辈出，院体画风曲高和寡；另一方面民间绘事日渐活跃，绘画成为了市井百姓喜闻乐见的一种表现形式，绘画佚名在当时也成为一种普遍现象。",[7,209,23,24,81,28,27,266,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62f4007ee81d835d13b3baa63b93e17.jpg",[],{"id":57783,"slug":57784,"title":57785,"dynasty":18,"author":278,"museum":311,"description":57786,"tags":57787,"thumbUrl":57788,"material":139,"size":139,"collection":139,"collections":57789,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227351,"bin-du-luo-ba-luo-duo-du-zun-zhe-yi-ming-227351","宾度罗跋啰堕闍尊者","《宾度罗跋啰堕闍尊者》 宋 佚名 绢本 设色 86×44 厘米 此图绘第一宾度罗跋啰堕闍尊者，是十六罗汉中的第一位，,与自眷属一千阿罗汉多分住在西瞿陀尼洲。左侧题名还可看清：第一宾度罗跋啰堕闍尊，右侧常住寺名已漫漶不清，只留“...东山三...寺常住“几字，当是在中国的宋代时就已流传至日本。此图用笔尤是宋人法度，设色高妙而极其虔诚，一丝不苟。眼作碧色，很是少见。允为传世宋人罗汉精品，惜宋画全集未录。",[7,23,24,27,28,243,106,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cb9355b5d38e4adf614ee79fabc37.jpg",[],{"id":57791,"slug":57792,"title":57793,"dynasty":54,"author":278,"museum":311,"description":57794,"tags":57795,"thumbUrl":57796,"material":139,"size":139,"collection":139,"collections":57797,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[7,23,24,25,243,27,28,244,106,808,433,266,34,176,1127,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":57799,"slug":57800,"title":57801,"dynasty":8433,"author":278,"museum":311,"description":57802,"tags":57803,"thumbUrl":57804,"material":2164,"size":2165,"collection":139,"collections":57805,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},226536,"de-bao-ti-shi-can-bei-yi-ming-226536","德保题诗残碑","清乾隆32年。民国拓本",[7,620,86,263,178,25111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5085bc5bb470d7fb54d771f30f58e29c.jpg",[],{"id":57807,"slug":57808,"title":57809,"dynasty":76,"author":1215,"museum":311,"description":57810,"tags":57811,"thumbUrl":57812,"material":2164,"size":2165,"collection":139,"collections":57813,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[7,23,24,225,27,26,177,29,105,734,2279,384,403,385,109,114,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":57815,"slug":57816,"title":57817,"dynasty":76,"author":1215,"museum":311,"description":57818,"tags":57819,"thumbUrl":57820,"material":139,"size":139,"collection":139,"collections":57821,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},224417,"shu-hua-shi-liu-kai-3-wang-shi-min-224417","书画十六开-3","此作以青绿设色晕染山峦，层峰叠嶂间烟云流荡，虚实相生将山林晕染得空灵缥缈，仿若世外幽境。苍松虬枝盘错、蓊郁葱茏，山隅水榭临波而建，一叶扁舟载着幽人泛于湖上，晕开山居雅趣。\n画作追仿赵千里笔意，师法北宋青绿山水的精工古雅，设色妍丽厚重却不俗艳，又糅合文人画的萧散淡远气韵，仿古而不泥古，在青绿华彩间铺陈出静穆悠远的山林意致，将江南丘壑的清润雅致与古典青绿的美学意蕴相融，尽显笔墨才情。",[7,23,24,81,26,27,177,29,34,12074,176,37,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be366e0ee1a3e750582496bd677f229.jpg",[],{"id":57823,"slug":57824,"title":57825,"dynasty":76,"author":10054,"museum":311,"description":57826,"tags":57827,"thumbUrl":57828,"material":139,"size":139,"collection":139,"collections":57829,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[7,23,25,27,244,106,29,2278,151,154,866,1423,107,109,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":57831,"slug":57832,"title":57833,"dynasty":76,"author":1929,"museum":311,"description":57834,"tags":57835,"thumbUrl":57836,"material":139,"size":139,"collection":139,"collections":57837,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},224315,"hua-niao-ce-shi-kai-5-li-shan-224315","花鸟册十开5","紫英垂悬如瀑，花瓣以淡墨晕染，浓淡间分出初绽苞蕾与盛放娇花，枝叶以枯笔淡绿点染，随性舒展，野趣天成。翎羽以赭黄铺陈，丹喙亮眼，禽鸟振翅欲动，垂首窥花，灵动神态跃然纸上。\n\n行书题字纵逸跌宕，笔意与画意相融，诗画合璧更添清雅文韵。兼工带写间，把花鸟生机藏于笔墨，随性又不失精致，尽显文人写意的疏朗意趣，将江乡春日花鸟的鲜活景致，凝于尺幅之间。",[7,23,24,81,27,400,178,263,83,266,135,658,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e68e1bbf2be065a2dd861feabc0ade8.jpg",[],{"id":57839,"slug":57840,"title":57841,"dynasty":76,"author":1929,"museum":311,"description":57842,"tags":57843,"thumbUrl":57844,"material":139,"size":139,"collection":139,"collections":57845,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},224313,"hua-niao-ce-shi-kai-3-li-shan-224313","花鸟册十开3","这幅写意花鸟以淡墨晕染禽鸟，借浓淡变化铺陈羽毛肌理，将小雀憨然俏立的姿态勾勒得灵动鲜活。虬曲花枝以枯笔挥就，老辣苍劲的笔力尽显藤蔓野逸之态，极简笔墨却生机饱满。\n右侧题诗与画面相映成趣，诗画交融尽显文人意趣。挣脱院体工整桎梏，以随性纵逸的笔墨抒发襟怀，将寻常小景晕染出清隽雅致的格调，诗书印浑然一体，尽显肆意洒脱的文人风骨，笔简意足，尽显水墨写意的疏朗之美。",[7,23,24,81,173,83,266,263,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab6bcbfe1b99fd380c38ac8586d9a07.jpg",[],{"id":57847,"slug":57848,"title":57849,"dynasty":76,"author":1563,"museum":311,"description":57850,"tags":57851,"thumbUrl":57852,"material":139,"size":139,"collection":139,"collections":57853,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},224180,"qiu-lin-guan-quan-tu-juan-hua-yan-224180","秋林观泉图卷","古木虬枝盘绕，繁叶如幄将溪岸轻笼，清寂秋意漫开。右侧石台之上，逸士围坐晤言，襟怀散朗，似伴淙淙泉声叙尽雅怀。\n\n浅墨勾出水波萦回，溪石错落排布，撞出幽远潺潺之意。山石以斧劈兼披麻皴写就，朴拙老辣，林木细笔点染、疏密相生，清雅古淡的设色晕开沉静古雅的氛围，将林泉清旷与文人情致相融，把秋日观泉的萧散林下之趣，藏进尺幅间的静穆诗意里。",[7,23,24,25,27,177,29,5613,468,558,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fbf31cff307ebed96fcbb978417b13.jpg",[],{"id":57855,"slug":57856,"title":57857,"dynasty":18,"author":278,"museum":311,"description":57858,"tags":57859,"thumbUrl":57860,"material":139,"size":139,"collection":139,"collections":57861,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[7,23,24,25,209,27,28,177,1775,867,29,174,1542,108,109,866,106,266,229,3981,6005],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":57863,"slug":57864,"title":44008,"dynasty":99,"author":278,"museum":311,"description":57865,"tags":57866,"thumbUrl":57867,"material":139,"size":139,"collection":139,"collections":57868,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},223669,"xue-jing-shan-shui-tu-ye-yi-ming-223669","此作铺展寒山素裹之境，层峦覆雪，山石棱线硬朗留白缀霜，似凝住凛冬清寒。虬曲枯木错落林间，枝桠积雪斑驳，萧疏间尽显苍劲古拙。山坳里山居隐现，木构廊轩错落排布，窗畔似含淡淡暖意，于冰寒天地晕开一隅烟火温情，静穆底色里暗蕴生机。\n\n画师以干笔皴擦勾勒山石肌理，淡墨晕染铺就雪地留白，虚实相生间尽显冬山空蒙清寂。将荒寒丘壑与幽居雅趣相融，绘就冬日山居的静惬之美，仿若可踏雪穿林，坐看林峦雪色，于冷寂山景中体味悠然避世的澹泊意韵。",[7,23,24,1352,173,27,177,29,2019,107,865,176,466,13661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0d320b8b831560b39f3f2cf7b4c401.jpg",[],{"id":57870,"slug":57871,"title":57872,"dynasty":18,"author":278,"museum":311,"description":57873,"tags":57874,"thumbUrl":57875,"material":139,"size":139,"collection":139,"collections":57876,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},223642,"peng-ying-xian-guan-tu-yi-ming-223642","蓬瀛仙馆图","此作以界画笔法层叠绘出仙山楼阁，殿宇廊庑排布严整精巧，错落掩映于深林茂树之间，汀岸临水铺展，烟波轻笼，晕染出缥缈出尘的世外氛围。\n\n整幅设色古雅沉静，线条工致秀挺，将想象中的仙乡胜境具象呈现，带着宋画特有的含蓄清远。搭配题诗呼应画境，把环山临水的清隽意趣与可望不可即的幽邃雅致相融，观之恍若踏入蓬阆，暂别俗世喧嚣，神游这片清幽仙境。",[7,23,24,1352,104,27,107,175,29,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9ee517b14027e7e9f1d81a16ef3f7f.jpg",[],{"id":57878,"slug":57879,"title":57880,"dynasty":18,"author":278,"museum":311,"description":57881,"tags":57882,"thumbUrl":57883,"material":139,"size":139,"collection":139,"collections":57884,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},223597,"sui-yang-wu-lao-tu-feng-ping-xiang-yi-ming-223597","睢阳五老图 冯平像","此作以赭色绢本为底，以克制笔墨绘就老者立像。劲细墨线勾勒玄色宽袍轮廓，衣纹简练沉稳，衬出冯平身形端方持重。他头戴高顶乌帽，面容清癯，银须垂胸，双手敛于袖中垂在身前，眉目低垂间自带致仕归乡后的沉静雍容。\n右上角瘦硬题字与画面清雅格调相融，既补全人物背景，又平衡构图。画家以形写神，舍去繁缛修饰，将宋人士大夫简淡含蓄的风骨凝于笔底，在素净方寸间晕开平和古雅的旧朝意韵，尽显宋代肖像画写实传神的精妙。",[7,209,23,24,225,28,27,106,63,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83312a144a70eebd7be88c64eb651b02.jpg",[],{"id":57886,"slug":57887,"title":57888,"dynasty":189,"author":278,"museum":206,"description":57889,"tags":57890,"thumbUrl":57891,"material":139,"size":57892,"collection":139,"collections":57893,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},223587,"hua-si-xiao-tu-juan-yi-ming-223587","画四孝图卷","「四孝图」描绘故事四则，以图文相间的方式表达。第一则述王武子之妻割股作羹汤，治癒婆母寒疾；第二则述三国陆绩因其母好食橘，乃於进謁袁术席间，怀橘以奉母；第三则述晋王祥為母病中思食鲤鱼於冬月，而至江上卧冰求鲤；第四则述后汉曹娥之父溺毙江中不得尸灵，至娥投江，三日后方抱父尸出。是皆孝心感人之事蹟，卷末并附李居敬四孝图序，论孝之精义。通幅人物，以匀称之线条為主，细挺而有力。",[7,23,24,25,27,28,106,115,34,4272,300,299,4304,55795,436,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ea7682e123d88c66ded0f834267302.jpg","38.9x502.7",[],{"id":57895,"slug":57896,"title":57897,"dynasty":76,"author":278,"museum":311,"description":47691,"tags":57898,"thumbUrl":57899,"material":139,"size":139,"collection":139,"collections":57900,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},223530,"wu-yi-shan-shi-ba-jing-tu-5-yi-ming-223530","武夷山十八景图5",[7,23,24,173,27,29,174,109,176,34,175,867,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c84bfbc9bf9a7a54e09f8f17c57e1.jpg",[],{"id":57902,"slug":57903,"title":1352,"dynasty":76,"author":278,"museum":311,"description":57904,"tags":57905,"thumbUrl":57906,"material":57907,"size":57908,"collection":139,"collections":57909,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},223472,"shan-mian-yi-ming-223472","图绘一女子与郊外采茶",[7,23,24,1352,27,28,244,106,59,228,386,176,606,9259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155243ffb1d2bc268317032cb916a089.jpg","絹本设色","纵24.2 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明福建漳浦人，字幼玄，一字螭若，又字细遵，门人称石斋先生。天启二年进士。授编修。崇祯初进右中允，曾三次疏救故相钱龙锡，贬三秩，而龙锡得减死。又屡上疏言诸臣专事互相报复，不顾大局，语刺大学士周延儒、温体仁等，被斥为民。复起为少詹事，因疏劾杨嗣昌等，下诏狱，旋释出，谪戍广西。十五年，复故官。福王即位，用为礼部尚书。南京陷，唐王即位福州，擢武英殿大学士。自请往江西图恢复，至婺源遇清兵，战败被执，不屈死。道周潜心经学，亦工书画。有《易象正义》、《三易洞矶》、《洪范明义》、《石斋集》等。",[7,86,25,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91634670146726797df4c02e7892ff58.jpg","25.6×270.5cm",[],{"id":58085,"slug":58086,"title":58087,"dynasty":99,"author":58078,"museum":583,"description":58088,"tags":58089,"thumbUrl":58090,"material":699,"size":58091,"collection":139,"collections":58092,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},221872,"xiao-jing-song-huang-dao-zhou-221872","《孝经颂》","黄道周被视为明代最有创造性的书法家之一。他的行书和草书，行笔转折刚劲有力，体势方整，书风雄健奔放。他的楷书主要学习钟繇，比起钟繇的古拙厚重来，更显得清秀、飘逸。\n他的楷书，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。\n乾隆帝亦说他：“不愧一代完人”。",[7,86,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba37b6ca183453c0c2595f1622b0991.jpg","23.4×12.7cm×23",[],{"id":58094,"slug":58095,"title":58096,"dynasty":189,"author":19012,"museum":20,"description":58097,"tags":58098,"thumbUrl":58099,"material":2465,"size":58100,"collection":139,"collections":58101,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},221821,"ying-shui-lou-tai-tu-ye-xia-yong-221821","映水楼台图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。\n《石渠宝笈续编·乾清宫》著录。",[7,23,24,209,81,104,244,173,107,109,108,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9ebc71fe2e34aada53e92454ae807c.jpg","纵23.9厘米，横25.3厘米",[],{"id":58103,"slug":58104,"title":58105,"dynasty":18,"author":58106,"museum":56,"description":58107,"tags":58108,"thumbUrl":58109,"material":841,"size":58110,"collection":328,"collections":58111,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},221684,"er-jun-tu-juan-yang-wei-221684","二骏图卷","杨微","描绘女真族人驯马手套马之惊心动魄场面。画中一奚官裘皮秋装乘骑奔驰，两匹正在奔腾的淡赭墨色马肥壮野逸，造型准确，神态生动，大有追风抹电之势，令人惊奋。\n该画用笔严谨工整，沉着豪放，线条遒劲，勾勒灵活，运笔流畅，人物和马之神态表情刻画细腻，栩栩如生，真实地反映了北方少数民族狩猎生活之特点和勇悍、粗犷之个性。明代黄旸题诗赞曰：“雄姿腾踏双飞黄，走如抹电风沙扬。权奈自是渥洼种，奔逐恍若神龙骧。\n前驹野性未易制，胡儿直把长缨系。且驱且挽力无穷，落日平沙浩无际。乃知调习良可驯，伯乐一顾价无伦。毛品虽为天厩亚，神骏能空冀北群。人间此马难重致，杨微妙笔传真意。……”图左自署款：“大定甲辰高唐杨微画”。从署款推定，此图作于金世宗大定二十四年（1184）。拖尾有明初人应光雯、黄寿、黄旸三人七言诗题跋，一九八三年詹宏羲先生将其捐赠给辽宁省博物馆收藏。",[7,23,24,25,28,27,106,150,178,263,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63999d1776682b106f06be528567b609.jpg","纵29.8厘米，横62.3厘米",[328],{"id":58113,"slug":58114,"title":58115,"dynasty":18,"author":47525,"museum":206,"description":58116,"tags":58117,"thumbUrl":58118,"material":699,"size":58119,"collection":328,"collections":58120,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},221564,"zhi-yan-xiu-shao-fu-chi-du-zhu-xi-221564","致彦修少府尺牍","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。 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本的古雅色泽里，冬日的清寂缓缓铺展。虬枝盘曲如铁铸，枝桠间薄雪若碎玉，清冷中透着岁月的苍劲。双鸠相偎于枝头，羽色与雪、树相融，姿态安闲，似在低语，为寂静雪林添了脉脉温情。雪坡简洁，几茎细草隐于雪下，更显天地空阔。画中无喧嚣，唯有雪的静穆、树的古拙、鸟的柔暖，将冬日的冷寂与生命的暖意悄然交织，让观者于冷冽中触到一丝安宁与慰藉，仿佛时光在此凝驻，只剩自然的恬淡与生机。",[7,23,24,27,28,83,384,1775,370,658,1128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809e2794ea016ae3eaf5316c3ed2a9cf.jpg",[90],{"id":58198,"slug":58199,"title":58200,"dynasty":18,"author":278,"museum":206,"description":58201,"tags":58202,"thumbUrl":58204,"material":123,"size":139,"collection":181,"collections":58205,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},218993,"jiang-ji-fan-ying-tu-yi-ming-218993","江矶帆影图","这个构图可能取自李唐《江山小景图》的开篇，其中山和树的笔触比较粗糙，水面没有画出波纹。",[7,23,24,209,173,27,177,29,58203,47518,174,34],"江矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d811081870c628ebc7c26ba55f12af7.jpg",[181],{"id":58207,"slug":58208,"title":58209,"dynasty":18,"author":48026,"museum":206,"description":58210,"tags":58211,"thumbUrl":58212,"material":123,"size":58213,"collection":181,"collections":58214,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},218875,"shui-cun-qing-xia-tu-ma-kui-218875","水村清夏图","这幅画描绘了一个水边的渔村，田间的荷叶和丰富的芦苇，人们生活在宁静中，给人一种世外桃源的感觉。",[7,23,173,27,1352,29,194,34,35,1265,4064,39166,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2a199f17dc4e03d73f2a0ef2d0a8c1.jpg","24.5x26.2",[181],{"id":58216,"slug":58217,"title":13290,"dynasty":18,"author":278,"museum":206,"description":58218,"tags":58219,"thumbUrl":58220,"material":123,"size":58221,"collection":181,"collections":58222,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},218721,"xue-shan-xing-lv-tu-yi-ming-218721","这幅画描绘了雪山上的一条小溪，两辆满载货物的牛车涉水而过，车夫以各种方式进行伪装，黄牛的形象也被真实地描绘出来。朱瑞在宋代喜欢画这类题材，这幅山水画比较轻快，类似于太古遗书《江山行旅图》的笔法，可能是金代的作品。",[7,23,24,1352,29,106,467,7577,176,1871,34,35,173,177,14282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bc5c1e8786c6f2560217f0c8669471.jpg","24.4x25.7",[181],{"id":58224,"slug":58225,"title":58226,"dynasty":18,"author":15770,"museum":206,"description":58227,"tags":58228,"thumbUrl":58229,"material":123,"size":139,"collection":139,"collections":58230,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},218675,"xi-hu-shi-jing-tu-qu-yuan-feng-he-ye-xiao-yan-218675","西湖十景图-曲院风荷","淡墨晕染的远山如黛，近岸树影婆娑，隐约可见荷叶田田的清姿，风过处似有暗香浮动。左侧行书笔意流转，与画中墨韵相映成趣，笔墨间尽是西湖夏日的清幽雅致。整幅作品以书画合璧之姿，将曲院风荷的静谧之美悄然铺展，尽显文人笔下的山水意趣与诗意情怀，让人仿佛置身于那片荷风送爽的西湖景致之中。",[7,23,24,81,173,27,178,29,227,34,1265,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f780af223b0e71a7e4d290d27c674c.jpg",[],{"id":58232,"slug":58233,"title":58234,"dynasty":18,"author":15770,"museum":206,"description":58235,"tags":58236,"thumbUrl":58237,"material":67,"size":139,"collection":139,"collections":58238,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},218673,"xi-hu-shi-jing-tu-ping-hu-qiu-yue-ye-xiao-yan-218673","西湖十景图-平湖秋月","秋夜湖光如镜，远山淡笼烟霞，墨色轻染出清寂的秋意。水面无波，似映着朦胧月色，岸边林木疏朗，隐见小舟泊于汀渚。左侧行书笔意婉转，与山水景致相映成趣，诗画交融间，藏着南宋文人的闲淡心境。笔墨简淡却意境悠远，仿佛能触到湖面的微凉，闻见夜露的清芬，将平湖秋月的空灵静谧凝于尺幅。江南水乡的雅致，秋夜湖景的静谧，皆在这一方画卷中缓缓流淌，尽显宋人的审美意趣。",[7,23,24,81,173,27,29,285,229,34,33,5048,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfb40a0e7d764088ae5815d0d9ce724.jpg",[],{"id":58240,"slug":58241,"title":58242,"dynasty":76,"author":278,"museum":311,"description":58243,"tags":58244,"thumbUrl":58245,"material":123,"size":139,"collection":139,"collections":58246,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":49},216678,"hong-lou-meng-fu-tu-ce-44-yi-ming-216678","红楼梦赋图册-44","藤蔓蜿蜒攀附，粉艳花朵与翠绿枝叶相映成趣，工笔勾勒的细节细腻入微。墨色文字工整排布，与周边花叶交织成趣，似将红楼诗词的幽婉韵味凝于纸面。线条柔婉细腻，色彩雅致清新，花叶的舒展与文字的端庄相得益彰，仿佛能窥见书中人物的悲欢离合。在笔墨与丹青的交融里，晕染出古典文学与传统绘画碰撞的独特意境，让人沉浸在红楼梦境的雅致氛围中，感受那份跨越时空的文学与艺术之美。",[7,23,24,81,27,28,178,86,84,759,1629,32058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1ac368539416e25dfa5d4a2c72cc337.jpg",[],{"id":58248,"slug":58249,"title":58250,"dynasty":76,"author":278,"museum":311,"description":58251,"tags":58252,"thumbUrl":58254,"material":699,"size":139,"collection":139,"collections":58255,"showCount":1093,"zanCount":2209,"manualWeight":48,"mainColor":94},215554,"bai-miao-jie-tou-mai-mai-hua-ce-2-yi-ming-215554","白描街头买卖画册-2","简练白描线条勾勒出街头挑担人的鲜活身影。宽檐斗笠遮去半面神色，衣褶随步履轻晃，线条如流水般晕开衣料垂坠与肩背弧度；扁担两端竹篮悬垂，篾纹细密交错，似藏着市井营生的细碎暖意。人物姿态沉稳，步履间透着奔波韧劲，无色彩渲染却以线的虚实疏密，凝住生活烟火气。寥寥数笔定格买卖日常瞬间，旧时光里的市井鲜活与平凡力量，在素净纸页间静静流淌，引观者窥见人间烟火的本真模样。",[7,244,81,106,1542,228,63,47337,8728,58253],"街头买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c9c174b79e89f3af58ee2cb1e1d3ba.jpg",[],{"id":58257,"slug":58258,"title":58259,"dynasty":76,"author":14907,"museum":311,"description":14908,"tags":58260,"thumbUrl":58261,"material":88,"size":139,"collection":139,"collections":58262,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},215104,"tui-bei-tu-ce-4-jiao-bing-zhen-215104","推背图册-4",[7,209,23,24,81,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8393a904a422a289521e461aba65b0a5.jpg",[],{"id":58264,"slug":58265,"title":58266,"dynasty":76,"author":4406,"museum":132,"description":58267,"tags":58268,"thumbUrl":58269,"material":88,"size":139,"collection":139,"collections":58270,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},215015,"fang-gu-shan-shui-ce-14-wang-jian-215015","仿古山水册-14","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[7,23,24,209,81,173,177,29,34,176,108,109,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2efea2262a97f2f0a8dacae0339853.jpg",[],{"id":58272,"slug":58273,"title":58274,"dynasty":76,"author":4406,"museum":132,"description":58267,"tags":58275,"thumbUrl":58276,"material":88,"size":139,"collection":139,"collections":58277,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},215010,"fang-gu-shan-shui-ce-19-wang-jian-215010","仿古山水册-19",[7,23,24,81,173,177,29,34,229,2310,557,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ef3432372e2458db74ec31875d2652.jpg",[],{"id":58279,"slug":58280,"title":58281,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":58282,"thumbUrl":58283,"material":409,"size":4264,"collection":139,"collections":58284,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},214947,"dao-zi-mo-bao-ren-wu-bai-miao-hua-37-yi-ming-214947","道子墨宝人物白描画-37",[7,209,23,24,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2529773012270b4a52a03e680b7adada.jpg",[],{"id":58286,"slug":58287,"title":58288,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":58289,"thumbUrl":58290,"material":409,"size":4264,"collection":139,"collections":58291,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},214945,"dao-zi-mo-bao-ren-wu-bai-miao-hua-38-yi-ming-214945","道子墨宝人物白描画-38",[7,209,23,24,244,106,8436,808,243,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7a7ac24e5dd5839f7e788e1096e808.jpg",[],{"id":58293,"slug":58294,"title":58295,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":58296,"thumbUrl":58297,"material":409,"size":4264,"collection":139,"collections":58298,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},214943,"dao-zi-mo-bao-ren-wu-bai-miao-hua-41-yi-ming-214943","道子墨宝人物白描画-41",[7,209,23,24,244,106,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb5f2b00ecbef18b5738f1ab88b1176.jpg",[],{"id":58300,"slug":58301,"title":58302,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":58303,"thumbUrl":58304,"material":409,"size":4264,"collection":139,"collections":58305,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},214939,"dao-zi-mo-bao-ren-wu-bai-miao-hua-45-yi-ming-214939","道子墨宝人物白描画-45",[7,23,24,244,106,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27d1347f9a0d33d23806dd890e3da07.jpg",[],{"id":58307,"slug":58308,"title":58309,"dynasty":18,"author":278,"museum":222,"description":4261,"tags":58310,"thumbUrl":58311,"material":409,"size":4264,"collection":139,"collections":58312,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},214936,"dao-zi-mo-bao-ren-wu-bai-miao-hua-48-yi-ming-214936","道子墨宝人物白描画-48",[7,23,24,244,106,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7cbecca29b38cc6e06ab0351824605.jpg",[],{"id":58314,"slug":58315,"title":58316,"dynasty":99,"author":1362,"museum":20,"description":58317,"tags":58318,"thumbUrl":58319,"material":409,"size":58320,"collection":139,"collections":58321,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},214878,"shan-shui-ce-3-wen-zheng-ming-214878","山水册-3","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[7,23,24,81,173,177,178,263,29,384,176,108,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe62e5d5f8d6dff9bf8878cfd068d890e.jpg","28.5x15.7cm",[],{"id":58323,"slug":58324,"title":58325,"dynasty":76,"author":34820,"museum":132,"description":58326,"tags":58327,"thumbUrl":58328,"material":409,"size":139,"collection":139,"collections":58329,"showCount":1093,"zanCount":48,"manualWeight":48,"mainColor":94},214496,"shui-mo-tu-ce-7-zheng-min-214496","水墨图册-7","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[7,23,173,81,178,86,177,174,29,34,558,1542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b1bc4021653f8b46f160971f4c0fc4.jpg",[],{"id":58331,"slug":58332,"title":58333,"dynasty":32065,"author"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兼具雅致意蕴，尽显肖像画的写实功力与审美意趣。",[7,23,225,28,27,106,12464,63,405,58810],"亲王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf450cbb9dd6fcc847057902d15ba50.jpg",[],{"id":58814,"slug":58815,"title":58816,"dynasty":76,"author":29211,"museum":311,"description":29212,"tags":58817,"thumbUrl":58818,"material":2164,"size":2165,"collection":139,"collections":58819,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},288351,"shuang-shou-shi-fu-shan-288351","双寿诗",[7,86,2570,225,24,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f38173c05563abfa6bed42f51dd9256.jpg",[],{"id":58821,"slug":58822,"title":58823,"dynasty":76,"author":278,"museum":311,"description":58824,"tags":58825,"thumbUrl":58827,"material":2164,"size":2165,"collection":139,"collections":58828,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},288320,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-duo-er-gun-fu-jin-yi-ming-288320","历代帝王贵妃大臣朝服像(多尔衮福晋)","此作工笔精严，将清初贵族内眷的威仪尽数铺陈。画中福晋容色端凝肃穆，静坐间自带世家贵气。周身朝服以宝蓝为底，通身金线织就的龙纹辗转腾挪，于沉稳底色中尽显华贵威严，纹样排布规整严谨，分毫毕现清宫服饰的礼制规制。\n\n朝珠错落垂覆，珠石点缀其间晕开温润光泽，与服饰明丽绣纹相映成趣。设色沉厚典雅，以浓淡明暗晕染出衣物层叠质感，写实入微。整幅画作恪守清宫肖像画的典正笔法，以细腻笔触定格贵族女眷的庄重仪态，尽显身份尊崇。",[7,23,27,28,225,106,63,433,46275,58826],"贵族女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa651fc4788bd919ac4aa7aa9f847812d.jpg",[],{"id":58830,"slug":58831,"title":11775,"dynasty":99,"author":278,"museum":311,"description":58832,"tags":58833,"thumbUrl":58834,"material":2164,"size":2165,"collection":139,"collections":58835,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},288164,"fang-dong-yuan-shan-shui-tu-yi-ming-288164","此作用平远铺展全景江南山水，烟波澹澹的江面与连绵柔缓的浅丘相映，苍郁林木间散落村舍人家，尽显水乡温润氤氲的灵秀气质。\n画师以披麻皴写山石，淡墨晕染出苍润层次，笔触简淡柔婉，追摹出平淡天真的山水意趣，带着宋初山水的浑厚静穆。整卷气息悠长静谧，将江南丘林的秀雅与村居的悠然融为一体，仿若带人走入了古意绵长的隐逸山居，尽显古典山水的悠远韵致。",[7,23,25,24,29,27,177,557,34,4970,266,4064,105,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74ea0075c3b07b6830bfb8c1b90d62a.jpg",[],{"id":58837,"slug":58838,"title":58839,"dynasty":99,"author":278,"museum":311,"description":58840,"tags":58841,"thumbUrl":58842,"material":2164,"size":2165,"collection":139,"collections":58843,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},288146,"fang-li-gong-lin-lian-she-tu-yi-ming-288146","仿李公麟莲社图","此作用笔追慕前贤，以清隽白描绘就莲社雅集：山林泉石间，高僧名士或围坐谈玄，或凭栏观览，衣袂线条舒展灵动，人物神态宛然如生，苍松流泉衬出林下清旷之境，尽得原作行云流水的韵致。后接长篇题跋，行笔秀逸雅致，与画境相得益彰。书画合璧，既复刻出东晋白莲结社的清逸雅趣，也暗合追慕古贤的文人襟怀，摹古却不泥古，笔墨自存沉静悠然的古雅格调。",[7,23,25,243,106,244,27,105,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45f2c578acb7715b41cd5584299e5ad.jpg",[],{"id":58845,"slug":58846,"title":58847,"dynasty":99,"author":278,"museum":311,"description":58848,"tags":58849,"thumbUrl":58851,"material":2164,"size":2165,"collection":139,"collections":58852,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},288098,"bu-dai-he-shang-tu-zhou-yi-ming-288098","布袋和尚图轴","此作用淡墨写意，寥寥数笔就将布袋和尚刻画得活灵活现。袒胸凸肚的他弯眼含笑，神情憨态可掬，一手搭着布囊，指尖捻动念珠，自在松弛的禅者气度扑面而来。\n\n衣纹以枯涩焦墨扫过，苍劲朴拙，随性的笔墨将僧袍的褶皱晕染得浑然天成，舍去繁缛细节，只以写意笔法勾勒神形。上方题诗与画作相映成趣，诗画一体暗合布袋和尚随缘自适的本心，将乐天豁达的禅意藏于笔墨之间，整体简淡苍古，不求工细，只重传神，尽显写意禅画通透悠远的意韵。",[7,209,23,24,225,173,106,243,86,263,58850],"布袋和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c8d9dc5e41658b41e1f204ed1784be.jpg",[],{"id":58854,"slug":58855,"title":55509,"dynasty":99,"author":55605,"museum":311,"description":55606,"tags":58856,"thumbUrl":58857,"material":2164,"size":2165,"collection":139,"collections":58858,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},288012,"shan-shui-ren-wu-tu-li-zhou-chen-ji-he-288012",[7,23,225,27,29,5967,866,2137,5633,109,37904,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e150f1bd53592f17e61c25f0a634f6.jpg",[],{"id":58860,"slug":58861,"title":58862,"dynasty":99,"author":2242,"museum":311,"description":54041,"tags":58863,"thumbUrl":58864,"material":2164,"size":2165,"collection":139,"collections":58865,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},287974,"luo-bi-yan-yun-shan-shui-tu-juan-chen-chun-287974","落笔烟云山水图卷",[7,209,23,25,173,29,174,266,176,34,194,109,177,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e33f1b7ecbe4267e336c150b7d478b7.jpg",[],{"id":58867,"slug":58868,"title":58869,"dynasty":99,"author":278,"museum":311,"description":58870,"tags":58871,"thumbUrl":58873,"material":2164,"size":2165,"collection":139,"collections":58874,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},287954,"ni-zan-lin-xi-qing-yin-tu-yi-ming-287954","倪瓒林溪清隐图","此作以水墨写幽篁坡岸，竹株清瘦劲挺，枝叶萧疏错落，淡墨晕染出空寂清旷的林下幽境，尽显简淡空灵之致。拖尾长卷题跋琳琅，行书古雅端秀，诗文书画相映成趣。\n全卷弥漫着文人耽爱林泉、避世幽栖的雅趣，以极简笔墨寄寓林下君子寄心山水、不与俗伍的隐逸襟怀，将诗酒相伴的林下清居之志融于卷中，尽显宋元以来文人画尚简尚淡、以画明志的意趣，文心画境交融无间。",[7,23,24,25,173,226,29,109,178,86,263,58872],"清隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d7fe10a932b3c7222922dc32863564.jpg",[],{"id":58876,"slug":58877,"title":15327,"dynasty":18,"author":676,"museum":311,"description":10466,"tags":58878,"thumbUrl":58879,"material":2164,"size":2165,"collection":139,"coll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《法书通释》分十篇：八法、结构、执使、篇段、从古、立式、辨体、名称、利器、总论。多汇集晋、唐以来名家之论，间及苏轼、黄庭坚、姜夔之说，所取古人碑帖至唐而止，然均为习见之文。立式篇“辨古无真书之名，钟、王楷书皆是隶法”一条，足正近代俗者之陋。",[7,86,25,178,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e46960c1b670d0173f9d60a749a4e3.jpg",[328],{"id":58967,"slug":58968,"title":58969,"dynasty":189,"author":58970,"museum":20,"description":58971,"tags":58972,"thumbUrl":58973,"material":699,"size":58974,"collection":328,"collections":58975,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[7,209,23,24,25,178,86,263,622,5153,1116,1115,4420,4421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[328],{"id":58977,"slug":58978,"title":58979,"dynasty":99,"author":278,"museum":311,"description":58980,"tags":58981,"thumbUrl":58982,"material":139,"size":139,"collection":139,"collections":58983,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},235621,"zhu-zhan-ji-wu-hou-gao-wo-tu-juan-yi-ming-235621","朱瞻基武侯高卧图卷","此卷以淡墨写幽篁林泉，武侯侧身卧于林间，竹枝苍秀清润，笔墨简逸秀雅，将林下幽寂旷远的意韵尽数铺展，寥寥几笔便勾勒出武侯高蹈淡泊的襟怀。\n\n后拖尾题跋连绵，合体篆书点缀其间，将跨越千古的君臣知遇之意娓娓道来，字里行间皆是对武侯鞠躬尽瘁的追慕，亦暗含对识贤明君的叹赏。书画合璧，淡墨绘尽贤相风骨，长题书就千古知己佳话，整卷清雅沉静，将武侯隐逸风姿与君臣相得的美谈融于一处，是书画共情的绝佳典范。",[7,23,24,25,173,178,263,226,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674be4be137862148724ce7ef701a8a9.jpg",[],{"id":58985,"slug":58986,"title":2202,"dynasty":99,"author":58987,"museum":311,"description":58988,"tags":58989,"thumbUrl":58990,"material":139,"size":139,"collection":181,"collections":58991,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},234269,"shan-shui-ce-sun-ri-shao-234269","孙日绍","此册页诗画合璧，右幅以淡墨晕染山水：近岸木桥横卧浅波，汀渚寂然，层叠远山如黛，烟岚轻笼间隐见楼阁，笔墨简淡空灵，晕染出烟雨江天的空濛悠远。左侧书法笔意纵逸跌宕，题诗意境呼应画中丘壑。二者相映成趣，将幽居林泉的闲雅疏旷铺陈开来，以极简笔墨勾勒出悠远山水，寄寓着文人澄怀观道的隐逸襟怀，诗书画相融相生，晕开恬淡雅致的古典意趣，尽显萧散出尘的文人山水情怀。",[7,23,24,81,173,177,178,29,734,282,108,175,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fde4ab358a106b7645441ca1c163a4b.jpg",[181],{"id":58993,"slug":58994,"title":58995,"dynasty":76,"author":522,"museum":311,"description":32702,"tags":58996,"thumbUrl":58997,"material":139,"size":139,"collection":90,"collections":58998,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},234266,"bie-you-feng-wei-ce-huang-shen-234266","别有风味册",[7,23,24,81,244,173,2570,263,12753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef705fcbf5ff2df82c1954a51e8bbcbd.jpg",[90],{"id":59000,"slug":59001,"title":59002,"dynasty":76,"author":59003,"museum":20,"description":59004,"tags":59005,"thumbUrl":59006,"material":1271,"size":139,"collection":139,"collections":59007,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[7,23,25,173,29,177,176,34,466,468,175,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":59009,"slug":59010,"title":40896,"dynasty":99,"author":11163,"museum":20,"description":59011,"tags":59012,"thumbUrl":59013,"material":699,"size":59014,"collection":139,"collections":59015,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},234155,"yun-shan-tu-juan-wen-jia-234155","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[7,23,24,25,173,177,178,86,29,23422,37,557,34,7944,35,108,109,174,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":59017,"slug":59018,"title":59019,"dynasty":189,"author":278,"museum":101,"description":59020,"tags":59021,"thumbUrl":59022,"material":527,"size":59023,"collection":139,"collections":59024,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},232802,"liu-jun-tu-juan-yi-ming-232802","六骏图卷","《六马图卷》旧传出自赵伯驹之手，卷分两段，非出一手，后段末缘下有伪款“千里”及伪印“赵伯驹氏”，清高宗弘历在后半上两题，一为七言古风，一为识语，知款印俱伪，书于同日。此卷曾入张大千手并加跋语四行。\n乾隆皇帝题识：平川苜蓿丰且滋。清泉映带沙冈披。戎人习马知马性。此处调马实所宜。牵者樴者二皆駵，白驹黑鬛绁柳枝，昻蔵翘足骊其色，一戎跨背鞍不施，紫骝回首嘶厥匹，有駓龁草意自怡，骥不称力称其德，况复一一皆英奇，作者寓意应有在，夏官遗法谁深知，即今大宛致汗血，骨格皆合图中姿，亦不渥洼诩作瑞，亦不交河资兴师，迥立阊阖詄荡荡，欲起王孙走笔为。",[7,23,25,27,28,263,86,106,150,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51563118f42df0d8b09f57e6f52a9b14.jpg","纵46.2厘米，横168.3厘米",[],{"id":59026,"slug":59027,"title":59028,"dynasty":189,"author":645,"museum":206,"description":59029,"tags":59030,"thumbUrl":59031,"material":712,"size":59032,"collection":139,"collections":59033,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[7,23,24,25,173,177,178,86,263,29,174,108,109,175,266,866,229,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":59035,"slug":59036,"title":59037,"dynasty":18,"author":676,"museum":101,"description":59038,"tags":59039,"thumbUrl":59040,"material":59041,"size":59042,"collection":139,"collections":59043,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[7,209,23,24,25,244,106,29,114,107,175,263,86,621,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 x 475.6 cm",[],{"id":59045,"slug":59046,"title":59047,"dynasty":18,"author":323,"museum":311,"description":59048,"tags":59049,"thumbUrl":59058,"material":139,"size":139,"collection":139,"collections":59059,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},232630,"qian-feng-ying-xiu-huang-ting-jian-232630","千峰映秀","黄庭坚(1045-1105)，字鲁直，号山谷道人，晚号涪翁，洪州分宁(今江西修水县)人，北宋著名文学家、书法家，为盛极一时的江西诗派开山之祖。",[7,86,178,620,59050,59051,59052,59053,59054,59055,59056,55590,386,59057,32058],"千峰","碧湘","石嶂","长枫","落琴","海苔","风霜","客竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a457431214eee4f72f027b944e1f4d.jpg",[],{"id":59061,"slug":59062,"title":59063,"dynasty":54,"author":278,"museum":311,"description":59064,"tags":59065,"thumbUrl":59066,"material":67,"size":59067,"collection":139,"collections":59068,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},232271,"nie-pan-tu-yi-ming-232271","涅磐图","涅槃（巴利语：निब्बान Nibbāna；梵语：निर्वाण Nirvāṇa），佛教术语，合文作𢌽，又译为泥洹、涅槃那、涅盘那、泥盘那、昵缚男，意译为熄灭、灭、灭度、寂灭、无为、解脱、自在、安乐、不生不灭等，新译作般涅槃（巴利语：pari-nibbāna，梵语：pari-nirvāṇa），又译为般泥洹、波利昵缚男、入灭、入灭度、圆寂。佛教教义认为涅槃是将世间所有一切法的自体性都灭尽的状态，所以涅槃中永远没有生命中的种种烦恼、痛苦，上座部佛教的见解是从此不再受后有，也就是不再有下一世的六道轮回。这个术语最早源自于古印度婆罗门教，当时众说纷纭。佛教认为外道无法实证何谓涅槃，在无佛教的时代只有佛和辟支佛可以亲证涅槃。释迦牟尼菩萨降生后，出家成佛转法轮，教导弟子佛法，才开始有声闻圣弟子四果阿罗汉实证涅槃。佛陀和阿罗汉舍寿后，会取证无余涅槃界，进入不生不灭状态，也称为涅槃，一般更常用般涅槃（意思是“进入涅槃灭度”，即“入灭”）表达，意思是肉身死亡后，进入不生不灭的涅槃状态。时至今日，当有佛教上师、沙门、比丘、比丘尼等修行者过世时，许多人会尊称他们涅槃了。大乘见地是佛菩萨能在涅槃中同时度众生，佛菩萨的涅槃叫“无住涅槃”",[7,23,209,243,27,28,106,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36001c315841694e4c562c3be81f2ce2.jpg","216x179.4厘米",[],{"id":59070,"slug":59071,"title":59072,"dynasty":277,"author":278,"museum":311,"description":59073,"tags":59074,"thumbUrl":59076,"material":2164,"size":2165,"collection":139,"collections":59077,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},231791,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-yi-ming-231791","明清日本古画花鸟山水人物粉本-人物卷","此卷以白描淡彩铺陈，笔致简逸稚拙。起首持杖人物寥寥数笔便形神尽显，随后跃马挽弓的武士气宇轩昂，线条勾勒出战马奔腾的飒爽气势，将武人豪烈之风晕染纸面。继而转绘惊马失控的骑者，笔意诙谐生动，添入俗世趣意。垂首疾行的仕人姿态恭谨，自带沉静闲雅之感。终了圆光中丰润女像，设色柔淡，神情恬和静穆。整卷将武人豪壮与世俗闲趣并置，古雅张力与谐趣意韵相融，朴拙天真间尽显别致意趣。",[7,25,244,27,106,150,59075,59,1112,86,263,63,28],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33e0f2c578b5c3f6b12100a60dfe51d.jpg",[],{"id":59079,"slug":59080,"title":59081,"dynasty":277,"author":278,"museum":311,"description":59082,"tags":59083,"thumbUrl":59084,"material":2164,"size":2165,"collection":139,"collections":59085,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},231655,"shi-ting-shi-qi-ren-wu-tu-zhou-yi-ming-231655","室町时期 人物图轴","此作笔下仕女娇憨温婉，发髻挽起垂发贴颊，柔韵尽显。朱红外袍暗纹隐现，墨绿下裳饰回旋几何纹样，素白裙脚衬出雅致格调，配色沉雅和谐。她持绘花团扇，垂目凝视扇面，身姿微倾，将娴静内敛的神态描摹入微，东方闺秀的柔婉气质呼之欲出。\n泥金底色带着岁月晕染的斑驳苍润，与人物的明丽设色相映，古雅沉静。线条匀净流畅，造型写实传神，揉合和风与唐韵的审美意趣，尽显古典雅致的东方气韵。",[7,23,24,225,27,28,106,59,436,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650f5f86df882ec6d6e4afe228442ca1.jpg",[],{"id":59087,"slug":59088,"title":59089,"dynasty":277,"author":59090,"museum":311,"description":59091,"tags":59092,"thumbUrl":59093,"material":139,"size":139,"collection":139,"collections":59094,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[7,23,24,81,173,27,177,29,106,107,174,109,176,34,1265,1617,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":59096,"slug":59097,"title":59098,"dynasty":99,"author":33096,"museum":9826,"description":59099,"tags":59100,"thumbUrl":59101,"material":39632,"size":59102,"collection":139,"collections":59103,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},231590,"shi-xiang-tu-chen-xian-231590","释像图","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[7,23,24,25,244,173,106,57481,1365,176,8436,151,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","49.5×731.3厘米",[],{"id":59105,"slug":59106,"title":59107,"dynasty":277,"author":59108,"museum":311,"description":59109,"tags":59110,"thumbUrl":59111,"material":2164,"size":2165,"collection":139,"collections":59112,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},231586,"shi-ting-shi-dai-han-jiang-du-diao-shan-shui-tu-shou-ye-zheng-xin-231586","室町时代 寒江独钓山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[7,23,27,29,174,1542,867,225,177,4272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac31b21b8cc2a0b86321841e63b6c93.jpg",[],{"id":59114,"slug":59115,"title":59116,"dynasty":76,"author":55393,"museum":1279,"description":59117,"tags":59118,"thumbUrl":59119,"material":1893,"size":59120,"collection":139,"collections":59121,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[7,23,24,25,173,177,29,34,176,31,37,1265,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":59123,"slug":59124,"title":17791,"dynasty":76,"author":45358,"museum":311,"description":59125,"tags":59126,"thumbUrl":59127,"material":139,"size":139,"collection":139,"collections":59128,"showCount":611,"zanCount":2209,"manualWeight":48,"mainColor":49},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[7,23,24,225,27,177,29,1365,176,466,109,107,4970,106,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":59130,"slug":59131,"title":59132,"dynasty":277,"author":39983,"museum":311,"description":39984,"tags":59133,"thumbUrl":59134,"material":67,"size":2165,"collection":139,"collections":59135,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},230563,"jia-nuo-jia-ba-li-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230563","迦诺迦跋厘堕阇尊者",[7,23,24,225,243,27,106,107,228,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce254a0478f0c929033488e812f8ba0a.jpg",[],{"id":59137,"slug":59138,"title":59139,"dynasty":277,"author":16142,"museum":311,"description":16143,"tags":59140,"thumbUrl":59141,"material":2164,"size":2165,"collection":139,"collections":59142,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},230503,"shi-ting-shi-dai-si-ji-shan-shui-tu-qiu-xue-zhou-230503","室町时代 四季山水图（秋）",[7,209,23,225,27,29,107,34,5535,4969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc400973487eafe8b6a86e5eafe93c0.jpg",[],{"id":59144,"slug":59145,"title":59146,"dynasty":277,"author":19249,"museum":311,"description":59147,"tags":59148,"thumbUrl":59149,"material":139,"size":139,"collection":139,"collections":59150,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},230487,"tai-gong-wang-wen-wang-tu-shou-ye-yuan-xin-230487","太公望文王图","此作用大片留白铺展空茫水色，寥寥柳丝牵起河畔清寂早春意趣。枯木旁细竹点景，极简笔触勾勒老叟踞石垂纶，身形松弛淡然，将静候的怅惘化入澹泊闲情。\n\n水墨晕染浅淡写意，舍去繁丽描摹，只以劲简线条刻绘人物风神，把隐逸襟怀与入世期许藏在空茫留白间，以东方水墨独有的留白哲思，将悠长等待的时光，铺陈在这无言空阔的画幅之中，尽显淡远幽寂的禅味。",[7,23,24,225,27,177,106,229,226,866,867,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2576cf375d2475dcb407cb2fc50632af.jpg",[],{"id":59152,"slug":59153,"title":59154,"dynasty":76,"author":1473,"museum":311,"description":21972,"tags":59155,"thumbUrl":59156,"material":2164,"size":2165,"collection":139,"collections":59157,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},230240,"qi-shu-tao-xiu-shi-qing-yi-lu-mo-ben-jin-nong-230240","漆书陶秀寔清异录（摹本）",[7,86,18207,225,5405,173,105,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0fb7392e84c663d10f1cf126c872e8.jpg",[],{"id":59159,"slug":59160,"title":59161,"dynasty":76,"author":59162,"museum":311,"description":59163,"tags":59164,"thumbUrl":59166,"material":2164,"size":2165,"collection":139,"collections":59167,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},230225,"yi-sheng-han-zhang-zhong-jing-xian-sheng-zhi-bei-guan-si-liang-230225","医圣汉张仲景先生之碑","关思亮","碑文刻有中国明末清初进士桑芸撰述的祠墓记，文体采用唐代名书法家颜真卿之字体，约一千二百字。该碑由日本医家泷清于日本文政十年(1827年)募集百余名汉方医家出资而建立。",[7,225,620,621,86,315,59165,32058],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aec81d35d8c85d06a4aa57661fbcf20.jpg",[],{"id":59169,"slug":59170,"title":59171,"dynasty":76,"author":7940,"museum":311,"description":59172,"tags":59173,"thumbUrl":59174,"material":139,"size":139,"collection":139,"collections":59175,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[7,23,24,25,105,29,34,174,266,867,177,27,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":59177,"slug":59178,"title":59179,"dynasty":76,"author":59180,"museum":311,"description":59181,"tags":59182,"thumbUrl":59184,"material":139,"size":139,"collection":139,"collections":59185,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},228936,"jin-jian-shan-shui-si-ping-lu-yuan-228936","金笺山水四屏","陆远","平远构图层层铺陈，淡墨晕染的远山衔着隐约山居，渐次拉近，中景茅舍里士人对坐晤谈，小童负物行于林畔，野居意趣悠然尽显。近岸怪石嶙峋，古木虬曲苍劲，红叶枝桠点染出清秋意韵，秋水蜿蜒迂回，澄澈空明。\n笔墨利落，山石以小斧劈皴写就，苍劲硬朗；林木点染兼工带写，意态生动。金笺底色衬得画面古雅温润，整体意境萧疏淡远，将文人寄情林泉、安享幽居的雅怀尽数铺展。",[7,23,24,59183,51173,29,27,177,176,34,35,109],"金笺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee574fd14a42eb307f4d37ff819902cb.jpg",[],{"id":59187,"slug":59188,"title":59189,"dynasty":99,"author":25360,"museum":311,"description":59190,"tags":59191,"thumbUrl":59192,"material":139,"size":139,"collection":139,"collections":59193,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[7,23,225,29,27,28,177,734,466,2279,1365,468,106,34,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":59195,"slug":59196,"title":40022,"dynasty":99,"author":817,"museum":311,"description":59197,"tags":59198,"thumbUrl":59199,"material":139,"size":139,"collection":139,"collections":59200,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},228876,"shan-shui-shi-hua-ce-wen-zheng-ming-228876","此作为行书题跋，笔墨温润秀劲，法度谨严却意态灵动，既得赵孟頫的娟秀雅致，又暗含晋唐书法的古朴意韵。行笔舒展从容，点画精到凝练，笔势连贯自然，将帖学的文雅之气尽显无余。\n\n题文评点衡山诗书，字里行间尽显题者不俗的赏鉴功底，自带冲淡平和的书卷意趣，与山水诗画的意境融为一体，尽显文人闲适雅致的赏玩心境，是一件兼具书法美感与品鉴意趣的文人题跋佳作。",[7,81,178,86,29,177,27,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe11878f87a44f54aae2ee00d3191a9b.jpg",[],{"id":59202,"slug":59203,"title":59204,"dynasty":99,"author":278,"museum":311,"description":59205,"tags":59206,"thumbUrl":59207,"material":139,"size":139,"collection":139,"collections":59208,"showCount":611,"zanCount":2209,"manualWeight":48,"mainColor":629},228819,"yin-shi-han-shan-yi-ming-228819","隐士寒山","古柳垂荫覆着幽寂山野，佝身疾行的高士衣袂被山风掀动翻飞。铁线描劲挺勾绘衣纹，将布帛褶皱随身形舒展的柔软晕化自然，素袍以青蓝镶边提色，暗合隐者疏淡心性。\n\n高士怀中文卷紧拥，神情专注唯恐山风惊扰卷中丘壑，将隐者嗜书如命的意趣藏在细微情态中。淡墨晕染的林麓荒苔沉暗朦胧，烘托出空山幽寂，把避世高贤耽于诗书、寄情林泉的林下风流，定格在这一瞬山野行旅之间。",[7,23,28,27,225,106,866,229],"https:\u002F\u002Foss.chuangqi.store\u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内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 人。\n父为进士承恩。\n孙克弘以父荫入仕，官至汉阳太守。\n孙克弘生性巧慧，声音洪亮，状貌疏野，在居处四壁上画苍松老柏。\n善书法，画上常题隶书。\n绘画擅花鸟、人物，有资料说写道释人物则学梁楷。",[7,23,24,225,243,28,27,106,263,63,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49e44cbbf6c2d7b966e9e401cadc7c7.jpg",[],{"id":59258,"slug":59259,"title":59260,"dynasty":189,"author":278,"museum":311,"description":59261,"tags":59262,"thumbUrl":59263,"material":139,"size":139,"collection":139,"collections":59264,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},228238,"fei-yan-tu-wan-shan-yi-ming-228238","飞燕图纨扇","此幅纨扇小品笔墨简淡却意趣盎然。虬曲的老柳占据一隅，浓墨写出苍劲老干，尽显风霜质感，柔细柳条轻曳飘拂，笔致清逸，将春柳的柔媚姿态晕染开来。枝头禽鸟各具情态，或静栖缩羽，或侧目顾盼，寥寥数笔便点染出灵动生机。空中飞燕振翅穿掠，墨色浓淡变化间，将疾飞之姿精妙定格。\n\n画面留白开阔，淡墨轻勾远坡，衬出天地空寂，把暮春时分清寂又暗含生机的氛围铺陈开来。全作用笔极简却意韵悠长，以水墨写意之法，将春日禽柳共生的雅致生机藏于尺幅之间，尽显空灵简淡的文人意趣。",[7,23,24,1352,173,266,866,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce88bcd629a6b17d680a5dd4e32460.jpg",[],{"id":59266,"slug":59267,"title":50474,"dynasty":189,"author":7354,"museum":311,"description":59268,"tags":59269,"thumbUrl":59270,"material":139,"size":139,"collection":139,"collections":59271,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},228052,"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-228052","此作为白描神品，线条劲挺匀细如春蚕吐丝，流畅自然。将育佛场景铺陈得细腻入微，人物衣袂褶皱流转灵动，发丝、璎珞等细节毫厘毕现，尽显对线条的极致把控能力。\n\n画面叙事悠然，姨母的温婉慈爱，幼佛的沉静安然，侍从的恭谨神态跃然纸上，场景层次分明，静谧祥和的宗教氛围扑面而来。全卷未施丹青，仅以浓淡变化的墨色便勾勒出织物的柔软、金属的冷硬，将宗教题材的庄严与俗世温情完美融合，尽显白描的高深造诣，是古典线描宗教人物画的上乘之作。",[7,209,23,24,25,243,244,106,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9d0065345992856348ca48994de99e.jpg",[],{"id":59273,"slug":59274,"title":59275,"dynasty":18,"author":59276,"museum":311,"description":59277,"tags":59278,"thumbUrl":59279,"material":139,"size":139,"collection":139,"collections":59280,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[7,23,209,24,27,28,243,106,29,176,466,5174,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":59282,"slug":59283,"title":59284,"dynasty":18,"author":40681,"museum":311,"description":59285,"tags":59286,"thumbUrl":59287,"material":139,"size":139,"collection":139,"collections":59288,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},227945,"yue-xue-ning-su-qi-jue-tuan-shan-yang-huang-hou-227945","瀹雪凝酥七绝团扇","此作笔致清婉端丽，点画匀停秀雅，自带雍容静和之气。诗作咏叹秋日桂与蔷薇，墨色沉静古雅，与泛黄绢本相融，晕开宋人风雅意趣。\n字里行间带着娴静的宫廷意韵，起收笔温婉雅致，结体舒展匀停，既有唐楷的端整法度，又暗合行书的灵动意趣，将宋诗的清隽意境，融于笔墨之中。朱红古印错落排布，与墨色、古绢相得益彰，尽显雅致的文人赏玩之态，把秋日幽居赏景的闲淡心境，藏进娟秀笔墨里，是宋韵书法小品里精巧动人的佳作。",[7,209,23,24,1352,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc166f2bbfc37bdd49a9365eb4b90133.jpg",[],{"id":59290,"slug":59291,"title":59292,"dynasty":18,"author":278,"museum":311,"description":59293,"tags":59294,"thumbUrl":59295,"material":139,"size":139,"collection":139,"collections":59296,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227907,"qiu-ting-shui-qin-tu-yi-ming-227907","秋汀水禽图","此作以淡寂秋意为骨，绘汀洲水畔之景。枯槎斜出，疏枝带寒，间有柔柯缀着残叶，与岸侧泛红的小花相映，暗显秋深的枯荣之态。水面空濛留白，漾着浅淡水纹，两只水禽正悠游啄饮，翎羽蓬松宛然，意态闲适。天际一羽孤鹤掠空，枝头还宿着小禽，动静之间，将秋日水汀的清寂悄然铺展。\n\n笔触兼用工写，禽鸟刻画精细入微，草木枝梢写意见韵，以小尺幅晕染出辽远空阔的江天秋意，把幽境雅趣藏于方寸之间，淡而有味，余韵悠长。",[7,209,23,27,28,924,27827,34,2310,229,266,5535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35baab3884004df1c48bee2955d8c10.jpg",[],{"id":59298,"slug":59299,"title":59300,"dynasty":18,"author":278,"museum":311,"description":59301,"tags":59302,"thumbUrl":59303,"material":139,"size":139,"collection":139,"collections":59304,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[7,209,23,24,1352,104,28,27,29,175,34,106,107,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":59306,"slug":59307,"title":59308,"dynasty":18,"author":278,"museum":311,"description":59309,"tags":59310,"thumbUrl":59312,"material":139,"size":139,"collection":139,"collections":59313,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227892,"qing-xi-feng-fan-tu-ye-yi-ming-227892","清溪风帆图页","此作用平远之法铺陈烟水湖山，近岸苍松劲拔，带着清森之气破开画角。淡墨晕染出层叠远岫，像被晨雾揉碎的黛色剪影，晕在空濛天际间。洲渚上林木成簇，在水面投下浅淡的墨色倒影。\n\n扬帆的扁舟缓行于清溪之上，船舷破开如镜的水面，为这片岑寂的山水漾开灵动涟漪。全作以水墨轻施淡染，设色清浅雅致，笔法简净秀润，将江南水乡暮霭初升时的清旷萧远尽数铺展。静穆山色与行舟动势相映，于简淡留白中晕开含蓄悠远的意韵，把烟水空蒙的湖山诗意凝在尺幅之间，引人坠入这片安谧清和的烟岚水色中。",[7,23,24,4850,173,27,29,174,59311,34,468,1265,263],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a87e6aea99e632e951e926931693c8.jpg",[],{"id":59315,"slug":59316,"title":59317,"dynasty":18,"author":278,"museum":311,"description":59318,"tags":59319,"thumbUrl":59321,"material":139,"size":139,"collection":139,"collections":59322,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227862,"zao-qiu-ye-po-tu-yi-ming-227862","早秋夜泊图","此作用细腻铁线描勾勒两艘泊船，舱室回廊、高耸桅杆皆刻画入微，淡赭轻敷点缀舱间细节，古拙雅致。远景水榭楼台隐在朦胧夜色间，烟水空濛晕染开早秋清寒。\n画面以小景写幽情，将旅人行舟暂歇的安然揉进静谧江色里，写实中带着诗意澹远，尽显宋人体察日常的雅致笔力，把初秋江上夜泊的清寂况味铺陈开来，淡而不寡，静中藏着羁旅安然的意趣。",[7,23,24,104,27,28,149,107,282,29,59320],"早秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9709ec5d8d3f68db6c128de0f7e73a9.jpg",[],{"id":59324,"slug":59325,"title":59326,"dynasty":18,"author":278,"museum":311,"description":59327,"tags":59328,"thumbUrl":59329,"material":139,"size":139,"collection":139,"collections":59330,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227851,"shan-ju-dui-yi-tu-yi-ming-227851","山居对奕图","此作以边角取景，尽显空灵淡远的韵致。右侧山居隐于苍松荫翳之下，屋舍素朴雅致，藏着林泉高隐的闲趣。古松虬曲苍劲，墨色苍润勾勒出老干新枝的清劲姿态，左侧松枝斜出，与右侧景致遥相呼应。\n\n大片留白晕染出烟岚空濛的远山，虚渺朦胧如幻似真。设色淡雅清润，水墨晕染出江南山霭的柔婉，尺幅之间铺陈出世外幽居的恬然意境，将林泉高致藏于简淡取景之中，于方寸间见天地悠远，尽显山水小品以小见大的隽永之美。",[7,209,23,24,1352,27,177,29,384,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe44c22249e2b9611ed2dc25841e8fab.jpg",[],{"id":59332,"slug":59333,"title":50855,"dynasty":18,"author":2039,"museum":311,"description":59334,"tags":59335,"thumbUrl":59336,"material":139,"size":139,"collection":139,"collections":59337,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227738,"shen-pin-tu-li-song-227738","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[7,23,209,24,1352,104,27,28,29,107,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4d68682181dca7241b159da51e2ccc.jpg",[],{"id":59339,"slug":59340,"title":23035,"dynasty":18,"author":676,"museum":311,"description":43984,"tags":59341,"thumbUrl":59342,"material":139,"size":139,"collection":139,"collections":59343,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227612,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227612",[7,23,24,25,244,173,106,29,174,175,266,109,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada9312dd485017bc4fab757eba67b6c.jpg",[],{"id":59345,"slug":59346,"title":59347,"dynasty":18,"author":676,"museum":311,"description":57763,"tags":59348,"thumbUrl":59349,"material":139,"size":139,"collection":139,"collections":59350,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227603,"wo-long-shan-tu-san-li-gong-lin-227603","卧龙山图三",[7,209,23,24,244,27,177,29,466,106,558,34,468,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86cf7dfa3ac26e73c0d8e4ff415bef90.jpg",[],{"id":59352,"slug":59353,"title":59354,"dynasty":18,"author":676,"museum":311,"description":57763,"tags":59355,"thumbUrl":59356,"material":139,"size":139,"collection":139,"collections":59357,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},227602,"xian-xian-shi-shi-tu-juan-li-gong-lin-227602","先贤事实图卷",[7,23,24,25,244,106,150,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddbbbc9cefdf5bedca92f7ccdb5a151.jpg",[],{"id":59359,"slug":59360,"title":59361,"dynasty":18,"author":676,"museum":311,"description":59362,"tags":59363,"thumbUrl":59364,"material":139,"size":139,"collection":139,"collections":59365,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},227583,"qun-xian-gao-hui-tu-juan-li-gong-lin-227583","群仙高会图卷","李公麟（1049年－1106年），北宋画家。字伯时，号龙眠居士，舒州（今安徽桐城）人。\n\n进士出身，历南康、长垣尉、泗州录事参军，官至朝奉郎。擅画人物、佛道像，吸取历代流派之长，自创一格，多用线描，笔法如行云流水，而不设色，生动地表现了人物的神情意态，人称“白描”；尤精擅画鞍马，常观察群马生活，求其变化，下笔形神兼备。注重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[7,23,24,25,244,29,106,107,266,229,175,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":59367,"slug":59368,"title":24986,"dynasty":18,"author":8332,"museum":311,"description":59369,"tags":59370,"thumbUrl":59371,"material":139,"size":139,"collection":139,"collections":59372,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227535,"yuan-lu-tu-yi-yuan-ji-227535","易元吉（生卒年不详，公元11世纪左右），字庆之，湖南长沙人。北宋时期著名画家。天资颖异，灵机深敏，尤善画猿猴，并因此而闻名天下。古代绘画评论家把獐猿画看成是易元吉的专工独诣，认为是“世俗之所不得窥其藩”的绝技。",[7,23,27,28,808,11064,266,384,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04cd6b97e915aeed8c1ec2cec2231d8a.jpg",[],{"id":59374,"slug":59375,"title":59376,"dynasty":18,"author":7741,"museum":311,"description":59377,"tags":59378,"thumbUrl":59379,"material":139,"size":139,"collection":139,"collections":59380,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[7,23,24,1352,173,177,29,174,175,866,229,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":59382,"slug":59383,"title":59384,"dynasty":18,"author":278,"museum":311,"description":56113,"tags":59385,"thumbUrl":59386,"material":139,"size":139,"collection":139,"collections":59387,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},227359,"liu-xi-yuan-yang-tu-ye-yi-ming-227359","柳溪鸳鸯图页",[7,209,23,1352,27,28,2607,4656,2053,266,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa830ca8abe60aea47e38b08368f2e9c6.jpg",[],{"id":59389,"slug":59390,"title":2202,"dynasty":76,"author":59391,"museum":311,"description":59392,"tags":59393,"thumbUrl":59394,"material":139,"size":139,"collection":139,"collections":59395,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},224597,"shan-shui-ce-yuan-ying-224597","袁瑛","此作铺陈出一卷悠然水乡山居图。远景山峦以淡墨晕染，轻烟笼岫，漾着空濛悠远的澹宕诗意。中景青绿重峦上，丹枫翠柏蓊郁成荫，山居院落沿溪错落排布，黛瓦飞檐掩映在枝叶间，将雅致烟火揉进山野清趣里。\n浅滩碎石漱着清流，近水扁舟随波徐行，渔翁垂竿独钓，把闲逸静穆揉进涟漪里。设色妍雅柔和，皴笔细腻勾勒山石肌理，淡墨晕染出烟岚轻笼的朦胧质感，将江南水乡温润灵秀的意趣尽数铺展，把幽居闲隐的雅韵凝在尺幅之中，观之如踏入这静美悠然的世外山居。",[7,23,27,177,81,29,108,109,174,107,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde5044ef41523288de68520c6e9bca9.jpg",[],{"id":59397,"slug":59398,"title":59399,"dynasty":76,"author":1215,"museum":311,"description":59400,"tags":59401,"thumbUrl":59402,"material":139,"size":139,"collection":139,"collections":59403,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},224418,"shu-hua-shi-liu-kai-4-wang-shi-min-224418","书画十六开-4","此作用笔苍浑秀润，追摹元人萧散意趣。层岩叠岫间古松虬曲，苔点皴染遍覆崖身，青绿敷色沉静古雅，恍若旧时光晕晕染纸面。飞泉漱石，流云出岫，将山巅晕出空濛仙气。澄江如练，渔翁独棹扁舟欸乃行于江心，静澜载闲，把江湖幽寂融于笔底。林麓间隐见山居茅亭，石径通幽暗合林下隐逸之思。整幅画将山林深秀与江湖闲逸织为一体，于青绿妍秀中藏文人淡远襟怀，尽显寄情林泉的雅逸意趣。",[7,23,24,27,26,177,29,174,109,108,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc562462de56224602031cb4887c257ca.jpg",[],{"id":59405,"slug":59406,"title":59407,"dynasty":76,"author":10054,"museum":311,"description":59408,"tags":59409,"thumbUrl":59410,"material":139,"size":139,"collection":139,"collections":59411,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},224358,"tong-qin-tu-zhou-yu-zhi-ding-224358","桐禽图轴","《桐禽图》是清代画家禹之鼎于康熙年间创作纸本墨笔画，现藏于故宫博物院。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。\n用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n本幅左上自题：“余摹蓝田叔先生《得子图》非一本也。\n乙亥后两日，偶于京邸，因秋实老翁谈及故园风景，又属（嘱）写此幅，感其嗜痴，不知丑耳。\n广陵禹之鼎识。\n”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。\n乙亥为清 三十四年（ ），禹之鼎时年49岁。\n从自题中得知画家此年寓居京师。\n此图用大写意法画 几枝，引来两只飞鸟栖息。\n树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。\n画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n自题中的“蓝田叔”指明末清初著名的山水画家 ，虽然尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。\n（1647—1716年），字尚吉，号慎斋，江都(今江苏 )人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入 。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对 、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[7,23,225,173,83,266,384,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935bf7d16f8ac9256d4a6e3fe14339.jpg",[],{"id":59413,"slug":59414,"title":59415,"dynasty":76,"author":1929,"museum":311,"description":59416,"tags":59417,"thumbUrl":59418,"material":139,"size":139,"collection":139,"collections":59419,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},224311,"hua-niao-ce-shi-kai-10-li-shan-224311","花鸟册十开10","此作兼工带写，将秋菊清灵之态尽显纸上。蓝紫、粉白花瓣晕染柔润通透，明黄花心点醒生机，枝叶勾勒挺劲简练，水墨与淡彩相融，既留存秋菊鲜活质感，又带着写意疏放意趣。\n\n右侧题诗行书纵逸跌宕，笔意洒脱，诗画相映，将文人爱菊幽思寄寓花枝之间。整体色调清雅妍丽，于浅淡间尽显秋花隽逸风姿，将写生鲜活与文人写意随性相合，寥寥笔墨间生机盎然，诗画合璧更添雅韵，尽显文人花鸟画的悠然意趣。",[7,23,24,81,27,400,83,407,1629,607,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff642fb405bfa754a4ff7754cc7ac83e5.jpg",[],{"id":59421,"slug":59422,"title":59423,"dynasty":76,"author":59424,"museum":311,"description":59425,"tags":59426,"thumbUrl":59427,"material":139,"size":139,"collection":139,"collections":59428,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},224268,"fang-fan-zhong-li-fei-quan-zhan-dao-tu-zhao-cheng-224268","仿范中立飞泉栈道图","赵澄","画作以雄奇主峰撑起画面骨架，山石皴刻硬朗厚重，遍覆蓊郁林木，尽显苍浑朴拙之气。山谷间云气氤氲，将上下景致晕出空濛层次，飞泉隐于林间，栈道盘绕崖壁，楼阁依险而建，既衬出山势的崔嵬险峻，也勾勒出山居的幽邃雅趣。笔墨追摹北派山水的雄浑风骨，沉雅的设色晕染开古厚氛围，把山野间的浩荡大气与林泉间的静谧隐逸相融，让观者仿佛踏入烟岚深处，尽览崖间飞泉与盘道山居的世外之景。",[7,23,24,27,177,104,29,12132,475,176,34,37,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a3ff265b1f216bdf8767877e88f38.jpg",[],{"id":59430,"slug":59431,"title":59432,"dynasty":76,"author":7373,"museum":206,"description":59433,"tags":59434,"thumbUrl":59435,"material":3071,"size":59436,"collection":2097,"collections":59437,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},224121,"qing-gao-zong-yu-lin-su-shi-tie-zhou-qian-long-224121","清高宗御临苏轼帖轴","本件清高宗虽以行书写苏轼〈砚铭〉，然而却不见苏轼特有的结字与丰腴的笔法，显然是出于己意之作，仍可看出乾隆传承自王羲之的书法风格。",[7,86,105,178,225,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff556acfc1627f56b921f8f01a944aefa.jpg","纵99.7cm，横32.2cm",[2097],{"id":59439,"slug":59440,"title":59441,"dynasty":18,"author":278,"museum":311,"description":59442,"tags":59443,"thumbUrl":59444,"material":139,"size":139,"collection":139,"collections":59445,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},223623,"hua-shi-cao-chong-tu-yi-ming-223623","花石草虫图","此作用笔精微细腻，构图取舍精妙，折枝花倚顽石而生，柔媚与苍劲相映成趣。粉红花瓣以淡彩晕染，瓣尖轻着白粉，将盛放之姿描摹得楚楚动人，叶片脉络清晰可见，带着鲜活水润的质感。顽石以枯笔勾勒皴擦，嶙峋纹理尽显硬冷苍古，和花草的柔润形成鲜明对照。\n\n画中诸般小生灵皆栩栩如生：蜥蜴探首曳尾，似正蹑足穿行；蜗牛静附石上，蜷壳悠然；飞蜂悬于空中，振翅之态仿佛可闻轻响。整体设色浅淡清和，墨色层次丰富，将郊野一角的生机定格，藏着细腻观照万物的心意，于平朴之中尽显雅致生趣。",[7,23,209,28,27,83,229,62,511,49264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389a4324e39851ec48a8bf5727886c77.jpg",[],{"id":59447,"slug":59448,"title":59449,"dynasty":18,"author":278,"museum":311,"description":59450,"tags":59451,"thumbUrl":59452,"material":139,"size":139,"collection":139,"collections":59453,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},223595,"pan-che-tu-yi-ming-223595","盘车图","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[7,209,23,24,225,28,177,173,27,29,107,176,34,106,50272,1422,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":59455,"slug":59456,"title":57147,"dynasty":18,"author":278,"museum":20,"description":47468,"tags":59457,"thumbUrl":59458,"material":302,"size":59459,"collection":139,"collections":59460,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},223590,"fan-qi-tu-yi-ming-223590",[7,209,23,24,25,28,27,106,150,33484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792f8737e0cca0585a895623b1b869be.jpg","27.4x127",[],{"id":59462,"slug":59463,"title":59464,"dynasty":189,"author":278,"museum":311,"description":59465,"tags":59466,"thumbUrl":59467,"material":2164,"size":2165,"collection":139,"collections":59468,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},223554,"shen-shan-ta-yuan-tu-ye-yi-ming-223554","深山塔院图页","原为团扇,试变其章法,略师其笔意。未知能得董巨幽淡天真之境否。",[7,23,209,24,81,27,177,29,107,1253,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89109ce6e6723a87ee1887eb4a597da7.jpg",[],{"id":59470,"slug":59471,"title":59472,"dynasty":18,"author":278,"museum":101,"description":59473,"tags":59474,"thumbUrl":59475,"material":573,"size":59476,"collection":139,"collections":59477,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},223535,"jiang-cun-tu-yi-ming-223535","江村图","图绘江水平缓，江上一叶扁舟，舟子撑杆而行。两岸绿树成林，屋舍隐隐。",[7,209,23,24,29,27,177,109,174,866,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb83e60ab9c09c2a0483f69fb55353f.jpg","24.1x25.4",[],{"id":59479,"slug":59480,"title":59481,"dynasty":18,"author":278,"museum":20,"description":59482,"tags":59483,"thumbUrl":59484,"material":573,"size":59485,"collection":139,"collections":59486,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},223518,"mei-xi-fang-ting-tu-yi-ming-223518","梅溪放艇图","绘一雅士放艇溪中，回首遥视远方，渔夫于 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一作昆山（今昆山）人，或作镇洋（今太仓）人。\n永乐（一四o三一至一四二四）中徵入画院，供奉三十余一年，花竹翎毛，笔致隽逸。设帐授徒，多所一造就，兼工书法，老于京师。《水东日记》、《画史会要》、《无声诗史》、《明画录》、《嘉定县志》",[7,23,24,1352,27,28,83,59641,928,263],"鹭鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefebf39a0fd61bdbd0627f200f2c8853.jpg","33x50.1",[],{"id":59646,"slug":59647,"title":59648,"dynasty":99,"author":31173,"museum":1666,"description":59649,"tags":59650,"thumbUrl":59651,"material":21783,"size":59652,"collection":139,"collections":59653,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},222546,"zeng-zhang-bao-yi-shi-juan-wang-duo-222546","赠张抱一诗卷","《王铎草书赠张抱一诗卷》的内容，是作者王铎自撰的七律诗五首，主要为赠送友人张抱一而作，并在诗歌内容上、在书法艺术中抒发、体现自己的情感。诗卷全文如下（注：原作品没有标点断句）：\n《张抱一公祖招集湖亭》：有酒沧池对烟丘，相招者谁任意游。晋人唐人曾几度，泉水溪水还同流。钟鼓此城鸣白露，戎兵何处领高秋。芦花今古依然在，羡尔无声眠野鸥。（注：第一首七律完）《登岳庙天中阁看山同友》：四围紫逻坐相望，突兀高峰划大荒。谁复凌空呼帝座，我今乘胜挹天浆。香烟古庙通灵气，石路神丘点太阳。冻草暮云无限意，汉京封禅旧山房。（注：第二首七律完）《牛首山同堪虚静原》：一樽绝巘放高歌，回首禅房忘坎坷。旦树晴分天目近，午帆气挟海风过。山吞吴楚犹新燕，寺趁齐梁只故萝。莫管星辰朽不朽，吹箫何处倚嵯峨。（注：第三首七律完）《频入》：频入长安过九衢，谁知幽梦在髭须。只今人路何从说，渐审岩居不可无。屈指箸筹赊日月，伤心戎旅满江湖。此生休外韬真处，锦瑟琪华待醍醐。（注：第四首七律完）《汴京南楼》夷门萧瑟俯晴空，万事欷献向此中。梁苑池台新萑苇，宋家艮岳老苔丛。牧人壕外时驱犊，猎骑天边晚射鸿。旧月多情依汴水，滔滔东去更朦胧。（注：第五首七律完）崇祯十五年三月夜。洪洞同邑弟王铎具草。抱翁公祖教正。\n按：《张抱一公祖招集湖亭》卷中七律五首，有三首见于《拟山园选集》（台湾学生书局）。分别是：《登岳庙天中合看山同友》，载集中七律卷九，题作《登岳庙天中阁看山感时》，原为二首，卷中所书为第一首；《频入》，载集中七律卷三，卷中所书之“待醍醐”，集中作“醉醍醐”；《汴京南楼》亦载集中七律卷三。\n另两首虽不见于集中，但是，同书五律卷三有《湛虚、静原游牛首》、《燕子矶湛虚招同静原》、《上天开岩同湛虚、静原》三首，与卷中《牛首山同湛虚、静原》—诗显然是同时之作。湛虚，即张镜心，字孝升，湛虚为号，累官至兵部尚书，是王铎的挚友。见于《拟山园选集》（台湾学生书局）及《拟山园初集》中的与张镜心有关的诗作多达五十首以上。张镜心亦曾为王铎的《拟山园初集》作序，与王铎以“年弟”相称，盛赞王铎诗文“浩乎哉如烟海，修辞之家，未之有也。”\n王铎书法的书法，到了《赠张抱一草书诗卷》时，已经摆脱了模仿的痕迹，有了主体性较强的跌宕雄逸的意态。《赠张抱一草书诗卷》亦是王铎草书长卷现可见较早的一件。《王铎草书赠张抱一诗卷》，在王铎书法的发展过程中具有十分重要的意义，从这件作品可领略王铎若干书法艺术特点。\n一个是强烈的节奏感使草书作品产生出运动力和冲击力。《王铎草书赠张抱一诗卷》中书法的点画线质表现其弹性产生运动力，运动的返急产生冲击力，在这一点上王铎成功地将力运用到书法点画的变化上，使笔在绢、绞、纸上的运动过程中产生顿挫、仰侧、奇崛、突变，使个性的张扬发挥到极致。尤其是充满着激情的用笔，如同少林武僧，有屈铁之力，挥棒生风。\n一个是前无古人的字法造势。王铎亦受时风影响，但他站在传统基础之上，破除旧有的模式，创建出一种崭新的恢弘博大的图式，充满艺术的震撼力。王铎书法的一个鲜明特点便是造势。《王铎赠张抱一行书卷》中，通篇显现出变幻莫测的感觉，字势左右叵诡，笔致老辣，章法宕逸。唐张旭狂草《古诗四帖》，如龙蛇之行，富于变幻，王铎在这一点上进一步追求草书中险绝、突变、膨胀与内敛之势，识字者，可领略触笔、行笔、运笔中的运动轨迹。\n第三是墨象万千，酣畅淋漓。中国画中有墨分五彩之说，利用墨之浓、淡、干、湿可使画面产生出无穷的变化，显现出生机勃勃的趣味。王铎从中国画中悟出用墨之道，并大胆地运用到书法创作中，从而增强了作品的视觉效果，把涨墨之法发挥到极致。《王铎赠张抱一行书卷》中，其作品的冲击力与用墨是分不开的，他书法点画的流动感也与用墨紧密相关。历史上在王铎以前的草书大家无一人用“涨墨”法，此法实乃王铎开创也，这种不同位置的参差对比，使作品在整体视觉效果上别具一格，特点鲜明。\n最后是独特笔法。王铎笔法早年受二王影响，笔势较为平和，行笔温润，他中年学米后，笔势、笔法发生了较为明显的变化。后终于成中国书法技法集大成式的开拓者。在《王铎草书赠张抱一诗卷》中，多处凸显其集大成的大家手笔，可谓将壮美之力表现到极致。在中国书法发展的这条主线上，王铎既崇尚对传统吸收，又善标新立异达到裂变之意。\n王铎为书近五十年的探索，终自成家法，成为“有明书法推第一”（吴昌硕诗句）、“于明季书坛可谓中兴之主”（沙孟海《近三百年的书学》）。他的书法对后世影响极大。清代早期的傅山受王铎书风影响之后，创博大流变之体，标立书坛。至近现代受王铎书风影响最深，写大草的书家，如林散之、沙孟海、沈鹏等书法家，都对王铎书法有深入的研究和汲取过优秀的养分。在日本等，他更是影响东瀛书坛多年。日本人对王铎的书法极其欣赏，还因此衍发成一派别，称为“明清调”。在日本关西地区甚至整个日本书坛，有“后王（王铎）胜前王（王羲之）”的说法。",[7,2570,25,86,263,173,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706317ef80c72d495a33ab77cf4de37a.jpg","长469cm，高26cm",[],{"id":59655,"slug":59656,"title":59657,"dynasty":99,"author":31173,"museum":206,"description":31175,"tags":59658,"thumbUrl":59659,"material":699,"size":59660,"collection":139,"collections":59661,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},222541,"zeng-zheng-gong-du-shi-juan-wang-duo-222541","赠郑公度诗卷",[7,86,24,25,2570,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d453ef98af224b61aec3187798b045.jpg","每开纵28.3公分,横36公分",[],{"id":59663,"slug":59664,"title":59665,"dynasty":99,"author":59666,"museum":206,"description":59667,"tags":59668,"thumbUrl":59669,"material":699,"size":59670,"collection":139,"collections":59671,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},222450,"lin-wang-xi-zhi-shi-qi-tie-zhu-da-you-222450","临王羲之十七帖","朱大有","朱大友，字伯亨，号二峰，号摩诃山农。云梯朱氏十一世孙，朱凤长子。生于正德十年，幼时聪惠过人。九岁时，有客人过访，以雪梅命题，大有曰：“舞六出之，奇占百花之魁。”客人击节叹赏。稍长入泮，闻理学名家邹守益在宁国讲学，徒步从之。任职南都时，有人欲行贿拉拢关系，大有正色曰：“士正谊明道，未及事君而挟欺以往，可孚？”固却之。时择选士子入贡（即可获得做官的资格），学使欲以大有为选，大有请曰：“葛某老且贫，生不愿先之，”竟让给葛先生。嘉靖甲午年（1534）复应贡选，遇疾，五月二十五日卒，年仅30岁。妻段氏，子四，长一桂，太学生，任玉山县丞。次一松，次一柏，次一梧，廪生。万历六年（1578）五月，大有以子一松贵，诰封朱大有《赠朱一松之父进奉政大夫》，曰：\n“通今学古，弗显其身，式谷贻谋，克昌厥后，尔子服官，郡贰行矩，茂宣歆佩，廷纶益弘家祚。”朱大有，列入清代《宁国县志·儒林传》",[7,86,105,2570,81,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287850a66f6702476ad07f74508848d7.jpg","29.2×35.9cm",[],{"id":59673,"slug":59674,"title":1462,"dynasty":99,"author":59675,"museum":206,"description":59676,"tags":59677,"thumbUrl":59678,"material":139,"size":139,"collection":139,"collections":59679,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[7,23,24,1352,29,173,27,177,734,384,108,4970,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":59681,"slug":59682,"title":59683,"dynasty":99,"author":3839,"museum":206,"description":59684,"tags":59685,"thumbUrl":59686,"material":27,"size":59687,"collection":139,"collections":59688,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},222431,"hua-song-yin-diao-ting-ce-ye-du-jin-222431","画松阴钓艇册页","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人，占籍燕京（今北京市）。宪宗成化（1465—1487）中试进士不第，绝意进取。工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。弘治二年（1489）为吴原博（宽）作赏菊宴集图。从艺活动约在成化、弘治间。\n明代中期的画坛，除了活跃着以沈周、文徵明等为代表的“吴门画派”和以戴进、吴伟为代表的“浙江画派”之外，在南京还出现了一些独具风格的文入画家。他们个个能诗、能文、擅书、擅画，且r生，隋开朗，豪放不羁。杜堇就是其中的一位。杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。\n传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（1500）由金琮（1449-1501）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《邵雍像》轴等，上述画均藏故宫博物院。从艺活动约在成化、弘治间。",[7,23,1352,173,27,29,177,403,174,867,176,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70da5f12ccbc7b5817be2e5d8f1e38e.jpg","68x68厘米",[],{"id":59690,"slug":59691,"title":59692,"dynasty":99,"author":25360,"museum":583,"description":59693,"tags":59694,"thumbUrl":59696,"material":699,"size":59697,"collection":181,"collections":59698,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[7,23,24,209,225,244,28,173,106,243,1365,4272,283,284,281,59695,54857,14227],"尊者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[181,163],{"id":59700,"slug":59701,"title":59702,"dynasty":99,"author":16327,"museum":206,"description":59703,"tags":59704,"thumbUrl":59705,"material":699,"size":59706,"collection":139,"collections":59707,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},222315,"zi-shu-wu-yi-ge-juan-wang-chong-222315","自书五忆歌卷","这件书卷恣肆纵逸，神彩飞扬。王宠下笔硬挺，只有在转笔的地方稍微圆润一些，所以笔调硬拙峻拔。虽然这是一件今草的作品，但几乎字字独立，字迹又带有章草的笔意，如书卷中的“眠”、“泰”、“裂”等字的捺笔收尾都还保存了隶书的韵致。这件书法是王宠三十五岁的作品，写在质地坚硬的金粟山藏经纸上，更能将王宠起伏顿按、急遽有力的笔法特色表现出来，是他传世的一件精品。",[7,178,86,25,2547,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ab10ee06054449e08cd21de2467d24.jpg","29.3×294.7厘米",[],{"id":59709,"slug":59710,"title":59711,"dynasty":99,"author":170,"museum":78,"description":18013,"tags":59712,"thumbUrl":59713,"material":573,"size":18017,"collection":139,"collections":59714,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},222097,"liang-jiang-ming-sheng-tu-ce-9-shen-zhou-222097","两江名胜图册9",[7,23,24,81,173,27,104,29,107,108,109,175,111,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c117a53f6aab2a924fb2e8282cc44.jpg",[],{"id":59716,"slug":59717,"title":59718,"dynasty":99,"author":170,"museum":78,"description":18013,"tags":59719,"thumbUrl":59720,"material":573,"size":18017,"collection":139,"collections":59721,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},222094,"liang-jiang-ming-sheng-tu-ce-6-shen-zhou-222094","两江名胜图册6",[7,23,24,81,27,29,107,13000,149,1265,34,285,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419cd7d3e9a099cd6e89767a3becac30.jpg",[],{"id":59723,"slug":59724,"title":59725,"dynasty":99,"author":16587,"museum":56,"description":59726,"tags":59727,"thumbUrl":59728,"material":699,"size":59729,"collection":328,"collections":59730,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},222058,"guo-pu-you-xian-shi-zhang-rui-tu-222058","郭璞游仙诗","此为张瑞图草书节录晋代郭璞的《游仙诗》之三首及梁简文帝萧纲《仙客诗》，文字与原诗略有出入。",[7,209,23,24,25,86,178,2570,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b2fc238586d292dcccf947ab9fbf9.jpg","纵28厘米，横540厘米",[328],{"id":59732,"slug":59733,"title":59734,"dynasty":99,"author":6855,"museum":311,"description":15150,"tags":59735,"thumbUrl":59736,"material":28,"size":15153,"collection":139,"collections":59737,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},222044,"de-qu-zai-ren-ce-13-kai-4-wang-zhong-222044","得趣在人册13开4",[7,23,27,28,106,806,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c20bbebf832986f26199f65c48151b1.jpg",[],{"id":59739,"slug":59740,"title":9999,"dynasty":99,"author":23324,"museum":78,"description":23325,"tags":59741,"thumbUrl":59742,"material":699,"size":23328,"collection":139,"collections":59743,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},221928,"za-hua-ce-guo-xu-221928",[7,209,23,24,173,244,400,106,865,9402,300,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1b76eeeb2eeb356c8d3f1ed37d35a.jpg",[],{"id":59745,"slug":59746,"title":59747,"dynasty":99,"author":936,"museum":20,"description":18414,"tags":59748,"thumbUrl":59750,"material":15499,"size":53397,"collection":139,"collections":59751,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":49},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意",[7,23,24,81,27,105,29,3660,109,34,1265,3899,111,59749,4064],"归帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg",[],{"id":59753,"slug":59754,"title":59755,"dynasty":18,"author":4966,"museum":206,"description":20391,"tags":59756,"thumbUrl":59757,"material":23586,"size":59758,"collection":139,"collections":59759,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},221427,"sui-gu-xian-chou-yan-su-221427","邃谷仙俦",[7,23,24,81,173,27,29,176,34,468,177,5174,14092,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a40a76ca3da825b71a02dad0c2b328c.jpg","40.2x66.3",[],{"id":59761,"slug":59762,"title":59763,"dynasty":18,"author":10082,"museum":20,"description":59764,"tags":59765,"thumbUrl":59766,"material":699,"size":59767,"collection":139,"collections":59768,"showCount":611,"zanCount":48,"manualWeight":48,"mainColor":94},221377,"ying-chang-hu-shang-shi-ci-juan-wang-shen-221377","颍昌湖上诗词卷","王诜作为画家的名声似乎要远远高出作为书法家的名声。其实，在书法方面，王诜的字清劲紧实而别具面目。《自书诗帖卷》共分四段，第一段二十三行一百五十四字，以散文叙说“前年恩移清颍（按即颍州）”，道阻于许昌，与韩维（持国）、范镇（景仁）诗酒留连于颍昌府（按即许昌）之西湖的情况。，第二段十七行九十六字，记颍昌湖上三人所作唱和诗句。第三段八行六十四字，为《蝶恋花》词一首，观其描述，亦当为湖上景色。第四段二行十七字，自言近年能饮酒，多醉书。字句之间虽然有感伤惜别的味道，但落笔痛快淋漓，锋芒毕露，可谓独具风貌。 （资料转自上海博物馆网站）\u2028 余前年恩移清颍，道出许昌，前途小阻，留西湖之别馆者几一月。常与韩持国、范景仁泛舟啸咏，使人顿忘去国流离之恨也。韩公德性温厚，风度高雅，固已可爱。范公虽老而精神不衰，议论纯正，白须红面，动辄醺酣。时余有所赋咏，公即取红莲叶命笔疾书，初不经思，佳辞丽句，顷刻而成，坐客莫不惊叹也。比闻朝庭就除端明殿学士以宠之，因思方今进任老成，如公者再起之，亦足以厚风俗耳。\u2028 颍昌湖上。余有赠诸公诗，其略曰：“清影十分月，暗香千柄莲。不知从此别，高会复何年？”韩公诗曰：“浩歌轻白雪，密意得青莲。诗就西桥月，留为好事传。”西蜀公云：“惯乘霄汉雀，翻说淤泥莲。可惜玉台处，等闲闲几年。”盖公不喜释氏，故有是句，亦可一笑也。\u2028 小雨初晴回晚照，金翠楼台倒影芙蓉沼。杨柳垂垂风袅袅，嫩荷无数青钿小，似此园林无限好，流落归来到了心情少。坐到黄昏人悄悄，更应添得朱颜老。右蝶恋花。余旧不饮酒，近年辄能饮，故多醉中所书耳。\n本卷分三段，首段记述了作者在去清颍途中受阻，与韩维（持国）、范镇（景仁）泛舟于西湖啸咏之事；中段与末段分别为三公在颍昌湖上诗作及王诜和蝶恋花词一阙。《宋史》记载，韩维在宋哲宗刚登基时上表推荐范镇，因为范在宋神宗时于建储有功，于是拜范为端明殿学士兼侍读，即文中所称“比闻朝廷就除端明殿学士以宠之”。由此可知，该帖应书于1086年。“余前年恩移清颍”中的“前年”是指1084年。其时韩、范二人亦居于许昌，颍昌湖即文中所称西湖，位于许昌的西北，所以，三人可以相遇于西湖游宴赋诗。该卷虽系以诗词和友有伤感流连之意，但下笔痛快淋漓，结体紧实，笔多横放，锋芒毕露，独具风貌。《吴氏书画记》卷六将此卷误称为黄庭坚书，至曹溶跋方为纠正。之后，《式古堂书画汇考》卷一二、《墨缘汇观》续录、《石渠宝笈续编淳化轩》、《壮陶阁书画录》、《三虞堂书画目》等均改为王诜书。",[7,24,25,178,86,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ae0a2cd0effd3a16a39257bcac83f5.jpg","31.3×271.9 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岳飛冤案，起用主戰派人士，鋭意收復中原；內政上，加強集權，積極整頓吏治，裁汰冗官，懲治貪污，重視農業生產，百姓生活安康，史稱“乾淳之治”。後世稱其為“卓然為南渡諸帝之稱首”。",[7,24,25,620,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039a2b079120574c0a96be072dc2c54b.jpg",[328],{"id":60585,"slug":60586,"title":60587,"dynasty":99,"author":38569,"museum":311,"description":38570,"tags":60588,"thumbUrl":60589,"material":2164,"size":2165,"collection":139,"collections":60590,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},241004,"zhi-luo-feng-zha-juan-wang-shou-ren-241004","致罗峰札卷",[7,209,23,24,25,173,178,1163,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88979f0060eb58657f91f1b367c1d40f.jpg",[],{"id":60592,"slug":60593,"title":60594,"dynasty":99,"author":60595,"museum":311,"description":60596,"tags":60597,"thumbUrl":60598,"material":699,"size":139,"collection":328,"collections":60599,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},240927,"wu-kuan-deng-liu-jia-kai-shu-xie-jing-ji-li-dai-fa-shu-can-pian-ji-juan-yang-shen-240927","无款、等六家楷书写经及历代法书残片集卷","杨慎","此卷合集残片，诸家笔墨风神各异。小楷写经端雅匀整，笔致清隽静穆，带着抄经时的沉虔；行草题跋则笔势跌宕纵横，铺陈出文人抒怀的疏放不羁。纸面虽有残损漫漶，墨色依旧沉厚温润，朱印斑驳晕开，晕染出岁月的古旧质感。残片拼接之间，牵系起散佚的文脉，将数代书家的伏案心境揉入长卷，既有敬谨的抄经笔意，亦有洒脱的论书闲情，古意盎然，墨迹里沉淀着悠悠时光的余温。",[7,621,178,5405,1163,2570,86,5152,25,622,620,263,10998,105,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[328],{"id":60601,"slug":60602,"title":60603,"dynasty":99,"author":60604,"museum":311,"description":60605,"tags":60606,"thumbUrl":60607,"material":699,"size":139,"collection":328,"collections":60608,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 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），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[7,86,5152,621,81,173,699,24,32058,60655,99,8289,4850,12711,60656],"儒家","经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ea3f5205a326ac20e377674fcb541e.jpg",[2097],{"id":60660,"slug":60661,"title":60662,"dynasty":76,"author":12204,"museum":311,"description":41711,"tags":60663,"thumbUrl":60664,"material":2164,"size":2165,"collection":139,"collections":60665,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},239359,"lu-bu-tu-juan-ding-guan-peng-239359","卤簿图卷",[7,209,23,24,25,28,27,106,247,4140,2508,24174,113,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98560f45893d959e7176c71fab282a.jpg",[],{"id":60667,"slug":60668,"title":60669,"dynasty":76,"author":25243,"museum":311,"description":60670,"tags":60671,"thumbUrl":60672,"material":139,"size":139,"collection":139,"collections":60673,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},239324,"xi-hu-jian-chun-juan-xi-gang-239324","西湖饯春卷","此卷行书诗稿笔墨萧散疏朗，起首灵动松秀，随卷舒展，字迹错落排布。岁月留下的墨污缺损，晕染出斑驳古意，反而更衬出笔底的文人风骨。提按转合间带着江南春暮的缱绻惆怅，将饯春的依依心绪融在撇捺之中。朱红钤印点缀素纸，黑白朱三色相映，古雅沉静。全篇带着清逸的书卷气，把西湖春归的不舍藏在每一处笔墨细节里，是兼具性情与笔力的清代文人书法佳制，尽显清雅淡远的文人心境。",[7,23,24,25,173,86,178,1163,29,177,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03d74dc700ccd093d22caea5fa3d874.jpg",[],{"id":60675,"slug":60676,"title":60677,"dynasty":99,"author":11163,"museum":311,"description":11164,"tags":60678,"thumbUrl":60679,"material":841,"size":139,"collection":139,"collections":60680,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},234259,"xuan-cheng-song-bie-juan-wen-jia-234259","宣城送别卷",[7,23,24,25,178,263,27,173,29,34,226,35,108,109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3da9f12e4c80cb38116a7672a637566.jpg",[],{"id":60682,"slug":60683,"title":60684,"dynasty":99,"author":60685,"museum":20,"description":60686,"tags":60687,"thumbUrl":60688,"material":139,"size":139,"collection":139,"collections":60689,"showCount":857,"zanCount":2209,"manualWeight":48,"mainColor":94},234200,"xue-ting-tu-juan-zhao-han-234200","雪亭图卷","赵汉","此作以淡墨晕染出群峰雪意，素净浑茫间，山坳雪亭幽然独立，枯木覆雪点染出清寂萧寒的冬日意境。整卷书画合璧，数段题书风格各异，行书秀逸苍劲，草书纵逸跌宕，擘窠大字雄健厚重。题诗文笔清隽，尽数铺展出林泉高致，将冬日幽居的清冷旷达与归隐忘俗的雅趣相融，笔墨间呼应画中逸韵，尽显诗画同源、以书入画的文人审美意趣。",[7,23,24,25,173,29,178,177,175,734,384,1775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc873cb1136ddbd79b8abebe8260093.jpg",[],{"id":60691,"slug":60692,"title":60693,"dynasty":76,"author":30494,"museum":311,"description":60694,"tags":60695,"thumbUrl":60696,"material":139,"size":139,"collection":139,"collections":60697,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},232697,"shan-shui-xi-shu-dong-cun-tu-ye-fang-cong-232697","山水西墅东村图页","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》。",[7,23,24,209,4850,27,177,263,29,108,109,34,35,176,1265,468,3710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67d5a6da73eb27662a8d531c4296f62.jpg",[],{"id":60699,"slug":60700,"title":60701,"dynasty":76,"author":18846,"museum":311,"description":55804,"tags":60702,"thumbUrl":60703,"material":699,"size":139,"collection":139,"collections":60704,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},232680,"jiang-bei-shi-wen-hong-yi-fa-shi-232680","江北诗文",[7,315,86,178,173,263,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4c8bc96f10cb2d81435b18e075d9314.jpg",[],{"id":60706,"slug":60707,"title":60708,"dynasty":277,"author":278,"museum":311,"description":60709,"tags":60710,"thumbUrl":60711,"material":139,"size":139,"collection":139,"collections":60712,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},231823,"ming-qing-ri-ben-gu-hua-fen-ben-ren-wu-li-zhou-wo-lu-zang-yi-ming-231823","明清日本古画粉本人物立轴 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人物卷",[7,25,244,173,27,106,105,8760,2508,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977772ee9845f5249c7c8fc7091771f5.jpg",[],{"id":60721,"slug":60722,"title":60723,"dynasty":277,"author":278,"museum":311,"description":60724,"tags":60725,"thumbUrl":60727,"material":2164,"size":2165,"collection":139,"collections":60728,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},231792,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-hui-juan-yi-ming-231792","明清日本古画花鸟山水人物粉本-花卉卷","此卷以三段铺展草木清趣：左幅淡墨晕染勾勒，花卉枝叶似笼轻烟，朦胧雅致，尽显晕染之妙；中段设色清妍，蓝花团簇搭配朱红穗草，墨色深浅铺陈绿叶，鲜活自然，将杂卉相生的野趣娓娓道来；右枝蓝花挺秀舒展，线条隽秀利落，把花枝舒展的姿态勾勒尽致。\n\n整体气息静谧清和，笔致简淡却饱含生机，画师以细腻体察捕捉花木的雅致姿态，将写生意趣融于其中，古雅温婉，尽显东方草木美学的隽永意境。",[7,9700,23,24,25,27,244,84,284,928,60726,1173,263],"蓝色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F556544f3ce8c1f43d39f21b466f94812.jpg",[],{"id":60730,"slug":60731,"title":60732,"dynasty":277,"author":60733,"museum":311,"description":60734,"tags":60735,"thumbUrl":60736,"material":2164,"size":2165,"collection":139,"collections":60737,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},231787,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-1-zhi-shou-jing-231787","文永贺茂祭图卷 双纸-1","直寿敬","本作为日式风俗绘卷，以平涂设色刻画贺茂祭出行队列。画面排布井然有序，自左向右文武扈从依次行进，骑乘主官位列核心。绘者以质朴柔和的线条勾勒人物，服饰配色沉静典雅，白、朱红、靛蓝层次分明，忠实还原祭典仪制衣冠规制。\n\n人物抬足行进的动态简练鲜活，仪仗器物细节清晰，将祭典的庄严肃穆与行进的生动感相融，笔触稚拙却精准传递出古祭出行的威仪氛围，兼具民俗史料价值与古拙的绘画美感。",[7,23,24,25,27,106,150,63,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c95d941cfb0fd5e3729f76c4dbcd38.jpg",[],{"id":60739,"slug":60740,"title":60741,"dynasty":277,"author":60742,"museum":311,"description":60743,"tags":60744,"thumbUrl":60745,"material":2164,"size":2165,"collection":139,"collections":60746,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},231730,"da-zheng-nian-chao-zhi-juan-jin-cun-zi-hong-231730","大正年 朝之卷","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[7,23,24,25,27,28,29,32596,435,10496,20127,9343,174,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],{"id":60748,"slug":60749,"title":60750,"dynasty":277,"author":278,"museum":311,"description":60751,"tags":60752,"thumbUrl":60756,"material":139,"size":139,"collection":139,"collections":60757,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},231694,"jiang-hu-shi-qi-ying-yi-die-shi-er-yue-tu-juan-yi-ming-231694","江户时期 英一蝶十二月图卷","这幅长卷铺陈出鲜活的市井浮生，水岸舟楫往来摇荡，市肆街巷串联起岁时日常。茶寮酒幌招展，宾客围坐言笑晏晏；贩夫走卒穿行长街，挑担叫卖的身影生动鲜活。亭台掩映在松柳浓荫，屋舍错落间见邻里闲话的松弛意趣。\n\n淡墨轻敷晕染出水色天光，线条细腻灵动勾勒众生百态，将岁时里的烟火温热与雅致闲情尽数揉入长卷，把日常俗事绘成温柔的时代剪影，让百年前的俗世风物宛在眼前。",[7,23,25,27,173,106,118,3875,60753,27559,60754,4970,1087,34,5783,40846,60755],"市肆","茶寮","闲情雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F169b830ee82cd17c77c2038154101eb1.jpg",[],{"id":60759,"slug":60760,"title":60761,"dynasty":277,"author":60762,"museum":311,"description":60763,"tags":60764,"thumbUrl":60765,"material":2164,"size":2165,"collection":139,"collections":60766,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[7,209,13178,25,27,1218,29,1365,35,194,4064,1265,10496,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":60768,"slug":60769,"title":60770,"dynasty":189,"author":41318,"museum":20,"description":60771,"tags":60772,"thumbUrl":60773,"material":699,"size":60774,"collection":139,"collections":60775,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},231562,"lin-shi-qi-tie-ye-kang-li-nao-nao-231562","临十七帖页","释文：\n严君平、司马相如、杨子云皆有后不？胡母氏从妹平安，故在永兴居去此七十也。吾在官诸理极差，顷比复勿来示云与其婢问来信不得也。\n吾有七儿一女，皆同生，婚娶以毕，唯一少者尚未婚耳。过此一婚，便得至彼，今内外孙有十六人，足慰目前，足下情至委屈，故具示。\n云谯周有孙，高尚不出。今为所在，其人有以副此志不？令人依依，足下具示。\n此有汉时讲堂在，是汉何帝时立此？知画三皇五帝以来备有，画又精妙，甚可观也。彼有能画者不，欲因摹取，当可得不？信具告。\n诸从并数有问，粗平安。唯修载在远，音问不数，悬情。司州疾笃，不果西公，私可恨。足下所云，皆尽事势，吾无间然，诸问想足下别具，不复一一。（后楷书小字）去岁在上都时所临，殊未能得其万一耳。康里巎记。\n下钤“子山”朱文印。帖前楷书题签“康里承旨巎”。无题跋。鉴藏印钤清宋犖“宋犖审定”一方。\n《临十七帖》是康里巎巎节临晋代王羲之草书《十七帖》中的五帖。此帖为淡蓝色纸本，纸质坚凝，字体修长，笔画遒媚，转折流便，技艺娴熟，于迅疾的书写中既体现出王羲之草书的秀媚洒脱，又不失临者本人的稳健风格。",[7,86,105,2570,81,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fbd4da4eff6d76ce89c6113a9b0dec8.jpg","纵28.5厘米，横42.6厘米、48.8厘米",[],{"id":60777,"slug":60778,"title":60779,"dynasty":189,"author":278,"museum":311,"description":60780,"tags":60781,"thumbUrl":60782,"material":139,"size":139,"collection":139,"collections":60783,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},231494,"you-xing-shi-nv-tu-you-ti-ba-yi-ming-231494","游行仕女图（有题跋）","笔致苍朴古雅，行书线条凝练舒展，藏锋裹毫间带着元人尚意的闲散意趣。题文追慕唐人仕女风神，暗合画中仕女迤逦游行之态：佳丽施徐缓步，罗衣轻扬，鬓畔簪花掩映姣容，团扇半遮更添幽婉。\n\n题跋与画作相映成趣，旧绢泛黄晕开浅淡包浆，朱印斑驳带着岁月摩挲的质感，字里行间铺展出闺阁柔婉情致，糅合元人审美意趣，静静诉说古画藏住的缱绻旧事。",[7,23,24,106,59,28,27,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede83ee94cce6d1a2e984a3f42c8bc6b.jpg",[],{"id":60785,"slug":60786,"title":60787,"dynasty":76,"author":60788,"museum":1279,"description":60789,"tags":60790,"thumbUrl":60791,"material":527,"size":60792,"collection":139,"collections":60793,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},231351,"han-shan-zhao-yin-tu-jin-li-ying-231351","寒山招隐图","金礼嬴","金礼嬴（1772年—1807年）清朝女画家。一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，她幼时小字唤作纤纤，解以“蹴罢秋千，起来慵整纤纤手”固得其娇憨，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。吴门自明尔来便是画家云集之所，金礼嬴定居以后遂始与当地画人往来，礼嬴性喜佳山水，金礼嬴的诗作和她的画作、女红、文论、箫艺类同，均出入天然，不见机心欲望，得林下风。吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。清 金礼嬴-寒山招隐图现藏于旅顺博物馆。",[7,23,27,177,29,175,176,865,106,107,866,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847093c00e64619ff7d721d21094f33.jpg","178cmx57cm",[],{"id":60795,"slug":60796,"title":60797,"dynasty":76,"author":5492,"museum":1279,"description":60798,"tags":60799,"thumbUrl":60800,"material":1411,"size":60801,"collection":139,"collections":60802,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},231348,"fang-wu-zhong-gui-shan-shui-tu-pu-hua-231348","仿吴仲圭山水图","峡江峻岭，山林葱茂，渔人垂钓，一派水国风光。用笔粗犷，气势豪放。自识“霜落蒹葭水国寒，浪花云影上渔竿。画成未拟将人去，茶熟香温且自看。写仲圭诗意，蒲华”。",[7,23,24,173,27,177,105,29,174,226,384,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b812ad538091df8d2f313f8cd5e494.jpg","167cmx92cm",[],{"id":60804,"slug":60805,"title":11775,"dynasty":76,"author":47602,"museum":311,"description":60806,"tags":60807,"thumbUrl":60808,"material":139,"size":139,"collection":139,"collections":60809,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[7,23,24,209,225,173,177,105,29,1365,176,35,34,106,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":60811,"slug":60812,"title":60813,"dynasty":76,"author":7940,"museum":311,"description":60814,"tags":60815,"thumbUrl":60816,"material":139,"size":139,"collection":139,"collections":60817,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":255},231000,"fang-dong-bei-yuan-shan-shui-tu-wang-hui-231000","仿董北苑山水图","此作以披麻皴写山峦层叠，淡墨晕染出烟雨空濛的江南氤氲之态，高远与平远景致相融，铺陈出山水的幽深阔远。苍松杂木错落点缀于岩岫间，山脚村居田舍隐现，将烟火气融于林泉丘壑，让幽寂山水多了几分温润生机。\n笔墨苍秀温润，皴擦尽显山石浑厚质感，淡墨轻染晕化出云气浮动的朦胧意境，既保有师法对象的平淡天真，又糅合自身清丽工致的笔意，将江南山水的静穆悠远诠释尽致，氤氲出文人山水独有的雅致闲澹之韵。",[7,23,24,29,173,177,105,30,34,176,37,38,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42c82dcbca07f113bc6bb5f1e5aee9.jpg",[],{"id":60819,"slug":60820,"title":60821,"dynasty":277,"author":45053,"museum":311,"description":45054,"tags":60822,"thumbUrl":60823,"material":2164,"size":2165,"collection":139,"collections":60824,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},230584,"si-ji-shan-shui-tu-ping-feng-di-er-ping-zhou-wen-230584","四季山水图屏风第二屏",[7,23,173,29,867,174,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d492c0b081ab9c93e3ac5769647104.jpg",[],{"id":60826,"slug":60827,"title":60828,"dynasty":277,"author":45053,"museum":311,"description":45054,"tags":60829,"thumbUrl":60830,"material":2164,"size":2165,"collection":139,"collections":60831,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏",[7,23,24,299,173,177,29,174,1542,175,1365,466,1265,5957,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],{"id":60833,"slug":60834,"title":60835,"dynasty":277,"author":39983,"museum":311,"description":39984,"tags":60836,"thumbUrl":60839,"material":67,"size":2165,"collection":139,"collections":60840,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},230562,"shi-liu-luo-han-xiang-02-jia-nuo-jia-fa-cuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230562","十六罗汉像02迦诺迦伐磋尊者",[7,23,24,225,243,27,28,106,227,4208,1518,176,60837,39514,18311,60838,2220],"供桌","信徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739efe7b9fa05345c1d6d721ac69f85.jpg",[],{"id":60842,"slug":60843,"title":60844,"dynasty":277,"author":60845,"museum":311,"description":60846,"tags":60847,"thumbUrl":60848,"material":2164,"size":2165,"collection":139,"collections":60849,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},230492,"jiang-hu-shi-dai-shan-ye-xing-le-tu-ping-feng-er-ping-yu-xie-wu-cun-230492","江户时代 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Color":94},228074,"lin-ji-jiu-zhang-deng-wen-yuan-228074","临急就章","邓文原","《章草急就章等》，是 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。\n泰定二年（125），召拜翰林侍讲学士。\n谱文肃。\n翰墨擅名一代，尤工于笔札，与赵孟俯齐名。\n其正、行、草书早期法二王，后法李北海（邕），章草亦颇具特色，与皇象、索靖的质朴相比，他更流利矫健，神采飞动。\n传世书迹有：《杖锡见过帖》、《与本斋札》、章草代表作《临急就章》等。\n着有《巴西文集》、《内制集》、《素履斋藁》等。\n邓文原《章草急就章》为纸本，纵2.厘米，横98.7厘米；《行书伯夷颂帖》为纸本，纵2.7厘米，横4.9厘米；《行书家书帖》为纸本，纵24.2厘米，横29.1厘米；《行书家书帖》为纸本，纵1.2厘米，横4.5厘米。\n以上作品均藏于北京故宫博物馆。\n书法，指有较高艺术水平的书法作品。\n古代将书写于缣楮纸帛而有法度的书法作品均称“法书”，或称“书”。\n《书法三味》：“作字之要，下笔须沉着，虽一点一画之间，皆须三过其笔，方为法书。\n”北宋王安石有“好事所传玩，空残法书帖”诗句。\n今通称所作之书法作品为法书，还含有尊重作者之意。",[7,86,105,25,2570,263,10998,622,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa768e24b1772d5da23b0f42ad8116b23.jpg",[],{"id":60984,"slug":60985,"title":60986,"dynasty":18,"author":278,"museum":311,"description":60987,"tags":60988,"thumbUrl":60989,"material":139,"size":139,"collection":139,"collections":60990,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},227937,"gao-shi-mi-lu-tu-yi-ming-227937","高士麋鹿图","此作用边角式构图铺展幽境，苍松斜曳出枝，笔墨老辣苍劲，松针细密尽显写生功底。暮色如墨晕染，空濛氤氲间，林下高士凭石闲坐，身侧童子垂手侍立，石上炉烟轻扬，似正煮茶清谈。浅水之畔麋鹿垂首徐行，动静相映。整幅以水墨晕出夜色沉凝，将幽居林泉、物我两忘的雅意融于尺幅。简淡空灵间禅意暗生，尽显宋代文人寄情丘壑、追慕清远的林下风流，是南宋小品山水以景抒怀的精妙之作。",[7,23,24,28,27,106,808,403,385,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06cd72897f04ff40824e6b0698e83573.jpg",[],{"id":60992,"slug":60993,"title":54254,"dynasty":18,"author":278,"museum":311,"description":60994,"tags":60995,"thumbUrl":60996,"material":139,"size":139,"collection":139,"collections":60997,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},227928,"da-mo-mian-bi-tu-yi-ming-227928","此作用笔极简空灵，以淡墨晕染出空濛悠远的禅意天地。枯笔勾勒的崖边瘦松枝桠疏朗，伴着淡墨晕开的空寂山水，烘托出幽阒沉静的氛围。达摩身披宽袍静坐石上，身形简括却尽显静定肃穆，侍立的沙弥神态恭谨，愈发衬得画面寂廖安宁。整幅画以少胜多，舍去繁缛细节，用萧散澹远的笔墨传递出禅家清寂玄远的意趣，将面壁的枯坐修行化为极具氛围感的视觉图景，尽显水墨禅画以形写神的精妙。",[7,209,23,24,225,173,244,243,106,229,865,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e177f7ca701ef04d64427f39085162b.jpg",[],{"id":60999,"slug":61000,"title":61001,"dynasty":18,"author":278,"museum":311,"description":61002,"tags":61003,"thumbUrl":61004,"material":139,"size":139,"collection":139,"collections":61005,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[7,209,23,24,25,244,173,106,34,283,1640,1112,19635,86,178,1163,263,1647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],{"id":61007,"slug":61008,"title":61009,"dynasty":18,"author":1419,"museum":311,"description":61010,"tags":61011,"thumbUrl":61014,"material":139,"size":139,"collection":139,"collections":61015,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[7,23,24,25,178,263,86,173,27,106,265,737,8727,2949,244,29,61012,2220,61013,8289,67,28,400],"农事场景","古文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":61017,"slug":61018,"title":61019,"dynasty":18,"author":5270,"museum":311,"description":61020,"tags":61021,"thumbUrl":61022,"material":139,"size":139,"collection":139,"collections":61023,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},227812,"tang-feng-ce-tu-ma-he-zhi-227812","唐风册图","此作用笔轻秀灵动，线条舒展如行云流水，淡敷浅彩，尽显清雅格调。画面四人情态各异：对谈二人神色恳切，似倾心论道，尽显古贤交游的从容雍雅；左侧侍者持器恭立，身形敛缩恭谨，暗含主仆分寸；右侧之人徐行远去，背影萧散。留白铺陈开阔，将沉静澹泊的氛围感拉满，以极简场景烘托出林下雅集余韵，淡墨轻痕间，含蓄铺展古风士人澹泊悠远的文人情致，于简淡里藏着悠长的古典意趣。",[7,209,23,24,81,244,106,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad8f913c7b7840dd8c7d44438b641bd.jpg",[],{"id":61025,"slug":61026,"title":38627,"dynasty":18,"author":1699,"museum":311,"description":38628,"tags":61027,"thumbUrl":61028,"material":139,"size":139,"collection":139,"collections":61029,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},227777,"xie-ke-fang-you-tu-ye-liu-song-nian-227777",[7,23,209,28,27,4850,106,175,226,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2feaea833fd999eef73aef07b04fbe0.jpg",[],{"id":61031,"slug":61032,"title":61033,"dynasty":18,"author":278,"museum":311,"description":41992,"tags":61034,"thumbUrl":61035,"material":139,"size":139,"collection":139,"collections":61036,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},227383,"ke-si-shan-niao-tu-yi-ming-227383","缂丝山鸟图",[7,209,23,24,2042,2127,83,28030,369,759,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62f06e57ad93bff8812144cad58fa7e.jpg",[],{"id":61038,"slug":61039,"title":61040,"dynasty":18,"author":278,"museum":311,"description":61041,"tags":61042,"thumbUrl":61043,"material":139,"size":139,"collection":139,"collections":61044,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},227379,"qiu-lin-mu-gui-tu-yi-ming-227379","秋林牧归图","就素材而论,其实所画的不过是历代都有人愿画的生产工具、人们爱好的动物——牛。可是,能够这样确切地活生生地把特殊的状况之下的牛的神态描写出来,构成特殊的境界,在一般画牛的作品中还不是容易碰见的。负荷着牧童的母牛,涉过了浅水,吃力地要爬上岸去,却又似乎要回头照顾那还没有跟上来的小牛。小牛,这一稚气的、生活经验还不丰富的幼小者,伸着脖子站在对岸,望着它的母亲,要前进又不曾前进。它在号叫,似乎是要求援助。这样来描写牛,不是一般的牛的描写。观赏者可以把它当成牛来观赏,又不只是单纯地观赏一般的牛。这种稚气的幼小者的神气和亲子关系的描写,能够唤起人的亲子关系的联想和对于幼小者的爱怜。由于画家对于他所要描写的对象着迷,深切地感到牛的可爱,当他塑造形象的时候,明确地以小牛观望的神态为重点,从而避免了肤浅的物象罗列的画法,生动地表现这一特殊状态之下的牛的神态和情感。正因为这样,这一好像我们从来没有见过又好像曾经在什么地方见过的情景,十分迷人。",[7,23,27,28,866,151,29,5613,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8bb3723de445fb263be83e42b090db.jpg",[],{"id":61046,"slug":61047,"title":61048,"dynasty":54,"author":278,"museum":311,"description":61049,"tags":61050,"thumbUrl":61054,"material":139,"size":139,"collection":139,"collections":61055,"showCount":857,"zanCount":2209,"manualWeight":48,"mainColor":94},227217,"fa-hua-jing-fang-bian-pin-zhu-sheng-dao-jing-yi-ming-227217","法华经方便品（竹生岛经）","因本卷曾收藏于琵琶湖上竹生岛之宝严寺，故称为「竹生岛经」。原本应抄录了魏晋南北朝僧人兼翻译家、鸠摩罗什（344－413）所译《法华经》八卷之全文，但目前仅存卷第一中的〈方便品〉一卷，即本件，以及现仍由宝严寺收藏的经摺装〈序品〉一册。\n本卷采用以金、银泥描画蝴蝶、禽鸟、宝相华、花草、祥云等纹样的上等纸张，其上施以金泥行界，每纸二十八行，书写之笔致沉稳而工整，是极为优美的装饰经（指具有装饰性目的之写经，纸张染色并描绘各种纹饰，施加金银粉或细箔）。现存的〈方便品〉及〈序品〉上，都有松花堂昭乘（1584－1639）的题跋，松花堂昭乘与本阿弥光悦、近卫信尹等宽永年间三大名书家，同誉为「宽永三笔」。跋文中虽提及此卷出自源俊房（1035－1121）之笔，但并无确凿有力之证据。",[7,10270,5152,621,699,243,86,61051,61052,7387,61053,8961],"古籍","手写","传统书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde11b79c9b2a676beb39ef8701b43034.jpg",[],{"id":61057,"slug":61058,"title":61059,"dynasty":54,"author":61060,"museum":311,"description":61061,"tags":61062,"thumbUrl":61063,"material":139,"size":139,"collection":139,"collections":61064,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},227091,"xiao-zi-fa-hua-jing-juan-shang-bu-li-yuan-hui-227091","小字法华经卷上部","李元惠","本卷乃唐人李元惠于延载元年（西元694年）所抄写之经卷，内容为活跃于魏晋南北朝时代的僧人兼佛典翻译家、鸠摩罗什（344-413）译于后秦弘始八年（西元406年）的《法华经》。李元惠是长安人，但具体的生平事迹并不清楚。\n\n本卷是由麻纤维抄造而成的麻纸三十九张连接而成，每纸施以淡墨行界五十六行，每行作三十二字，将一部七卷的《法华经》写成一长卷，全长逾二十公尺。书写之文字是略呈扁平状的蝇头小楷，字迹精细而谨慎，但随着抄写卷数的增加，用笔转趋迅速，字体亦略显放逸。本卷之书写年代可确定为唐代，而以蝇头小字将一部《法华经》全部抄写于一卷中的做法，也十分珍贵。\n\n本卷的拨形（弹奏琵琶的拨子）轴头上镶有碧玉，而用以收纳本卷的经筒则以一段分裁两半、刳空木心的沉香木制成。本卷长久以来一直收藏于法隆寺，相传是圣德太子生前所有物，并俗称为“御同朋经”。根据传闻，圣德太子乃中国高僧慧思禅师转世降生，本经典乃太子派人渡唐取回，为其前世于中国修行时之寺院道友（即“同朋”所指）使用的经书，故云。",[7,86,5152,25,621,243,5153,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bf78e50c50364d376832c3ce6eb677.jpg",[],{"id":61066,"slug":61067,"title":61068,"dynasty":54,"author":278,"museum":311,"description":61069,"tags":61070,"thumbUrl":61071,"material":2164,"size":2165,"collection":139,"collections":61072,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":629},226535,"ji-zhao-he-shang-bei-duan-cheng-shi-zhuan-wu-ke-shu-li-ying-juan-yi-ming-226535","寂照和尚碑段成式撰無可書李郢鐫","唐大和7年(833)12月卒,經摺裝剪裱",[7,10270,620,86,621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec1be65632ffcac575e027ca6503d04.jpg",[],{"id":61074,"slug":61075,"title":61076,"dynasty":277,"author":34092,"museum":311,"description":34093,"tags":61077,"thumbUrl":61078,"material":2164,"size":2165,"collection":139,"collections":61079,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},225297,"feng-tian-ben-dong-jing-zhen-hai-225297","风天(本-东京)",[7,23,24,225,243,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f6d9b2e3fc423f8375b1380dcac095.jpg",[],{"id":61081,"slug":61082,"title":61083,"dynasty":76,"author":24062,"museum":311,"description":61084,"tags":61085,"thumbUrl":61086,"material":139,"size":139,"collection":139,"collections":61087,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},224535,"fang-ni-qu-lin-shan-shui-zhu-chang-224535","仿倪去林山水","此作用笔简净松灵，取法倪氏平远意趣，绘就萧疏清旷的深秋丘壑。近岸枯木疏槎清瘦劲挺，枝桠寥寥，带着深秋荒寒之气。远山以淡墨轻扫勾勒，轮廓柔和简淡，留白水面悠悠延展，将空寂意境铺陈开来，林麓石畔的隐舍萧然出尘，不见烟火气。全幅笔墨淡逸清润，不作繁复皴染，以极简形制传递静穆萧散的文人雅韵，将倪画天真幽淡的冷寂气质得韵传神，尽写郊野秋意的疏朗空荒，藏着对枯淡美学的精准追摹与悠远体悟。",[7,23,173,177,105,225,29,1423,866,229,109,34,557,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b10416c0f2ccf154ddc3b890e53df8.jpg",[],{"id":61089,"slug":61090,"title":61091,"dynasty":76,"author":47602,"museum":311,"description":61092,"tags":61093,"thumbUrl":61094,"material":139,"size":139,"collection":163,"collections":61095,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},224534,"fang-dong-yuan-bi-yi-tu-zhou-qi-zhi-jia-224534","仿董源笔意图轴","此作用笔苍简老辣，以淡墨皴擦写高远山峦，浓墨苔点提点山形，尽显山石苍古厚重。近坡古松虬曲、杂木错落，笔致写意随性。水畔茅舍中二人对坐，将山居雅晤的幽寂之趣藏于林泉间。\n\n画作师法前人却自出机杼，以简淡笔墨晕染出空濛悠远的意境，将文人寄情山水、追慕林泉高致的隐逸襟怀融在尺幅间，萧散清逸的格调尽显文人画的意趣风神，于简淡之中见出深秀雅致。",[7,23,24,225,173,105,177,29,176,34,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4cb4ed98632dc4ebd5a427f409fd.jpg",[163],{"id":61097,"slug":61098,"title":61099,"dynasty":76,"author":7940,"museum":311,"description":61100,"tags":61101,"thumbUrl":61102,"material":139,"size":139,"collection":139,"collections":61103,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},224473,"qing-wang-yun-wang-hui-he-bi-zhou-wang-hui-224473","清王云王翚合璧轴","此作用笔兼工带写，老桃枯干苍劲古拙，枝头桃花轻红柔丽，灼灼盛放，与叶芽新绿相映，晕染出春日融融生机。下方水畔鸳鸯伫立，翎毛晕染细腻，羽色明丽温润，情态安闲静雅。\n书画合璧，题字清隽秀雅，诗画呼应，将春日的恬和野趣晕透纸面，设色妍而不艳，既有院体花鸟的精工雅致，又饱含文人画的澹泊意趣，静穆中藏着蓬勃春机，尽显清和雅致的林下春光。",[7,23,24,225,27,28,83,264,4272,2053,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4efb57d002aeb7ed5287d3e5fa93fa.jpg",[],{"id":61105,"slug":61106,"title":61107,"dynasty":76,"author":7940,"museum":311,"description":61108,"tags":61109,"thumbUrl":61110,"material":139,"size":139,"collection":139,"collections":61111,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},224451,"xia-shan-yan-yu-tu-wang-hui-224451","夏山烟雨图","清王翚款夏山烟雨图轴是重庆中国三峡博物馆收藏的绘画。\n质地:纸 藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 具体尺寸(cm):46×29.9",[7,23,24,225,173,27,177,29,734,34,109,175,37,17312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],{"id":61113,"slug":61114,"title":61115,"dynasty":76,"author":7940,"museum":311,"description":61116,"tags":61117,"thumbUrl":61118,"material":139,"size":139,"collection":139,"collections":61119,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},224450,"xia-wu-yin-mei-wang-hui-224450","夏五吟梅","《王翚夏五吟梅图轴》是清代王翚创作的一幅画。\n此图画成时王翚已是8岁高龄，然而画面丝毫看不出有衰老的迹象，线条细若游丝，劲如屈铁，笔力老练纯熟，画风细润明快，融合了众家笔法之长。\n构图布景显示出画家胸有成竹，景物的配置自然写实，气度不凡。",[7,23,209,24,225,27,29,177,108,109,175,266,384,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794bca20f35e023f5002c7199254ad74.jpg",[],{"id":61121,"slug":61122,"title":61123,"dynasty":76,"author":1584,"museum":311,"description":61124,"tags":61125,"thumbUrl":61132,"material":139,"size":139,"collection":139,"collections":61133,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[7,23,24,29,27,177,86,263,34,176,109,557,175,473,468,61126,49492,61127,61128,61129,61130,61131,1647],"山峦叠嶂","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":61135,"slug":61136,"title":24100,"dynasty":76,"author":1584,"museum":311,"description":61137,"tags":61138,"thumbUrl":61142,"material":139,"size":139,"collection":139,"collections":61143,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[7,23,209,24,1218,173,27,176,109,108,4970,12132,34,61139,177,1842,61140,2352,26930,61141,263,1647],"林壑","干笔积墨","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":61145,"slug":61146,"title":61147,"dynasty":76,"author":1929,"museum":311,"description":61148,"tags":61149,"thumbUrl":61150,"material":139,"size":139,"collection":139,"collections":61151,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},224321,"hua-niao-shi-er-kai-10-li-shan-224321","花鸟十二开10","画面书画合璧，意韵悠长。以没骨法写就江南佳果，青蜜桃圆润饱满，淡青敷色晕出带紫的熟韵，叶片舒卷含露，鲜活如生；枇杷圆实浅赭，尽显甜熟质感；杨梅黑紫莹润，衬以青灰长叶，野趣盎然。\n\n题跋行书清雅隽秀，叙南北果品风味，笔墨与风物相融，淡墨轻彩间，将文人闲赏风物的恬然心境藏于尺幅之中，设色柔和雅致，晕染细腻自然，把佳果鲜嫩鲜活的情态刻画入微，尽显小品写意的清雅意致。",[7,23,24,81,27,400,86,263,83,6739,1140,2266,607,2267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb1d64a5729b47a3279498396e83838.jpg",[],{"id":61153,"slug":61154,"title":61155,"dynasty":76,"author":1929,"museum":311,"description":61156,"tags":61157,"thumbUrl":61158,"material":139,"size":139,"collection":139,"collections":61159,"showCount":857,"zanCount":1104,"manualWeight":48,"mainColor":94},224317,"hua-niao-ce-shi-kai-7-li-shan-224317","花鸟册十开7","此帧绘牵牛绕竹，藤蔓蜷曲舒展，翠叶柔嫩鲜活，蓝紫花瓣晕染出通透光泽，将朝颜初绽的柔媚尽致展现。笔意兼具工致与写意，花叶灵动鲜活，如见晨露未晞的篱边实景。左侧书法笔力苍劲，诗书与绘事相映，文人雅趣尽显。以写生捕捉朝花之真，以笔墨挥洒写意之韵，将草木柔媚与文人意趣相融，雅致脱俗，尽显花间清逸之美。",[7,23,81,27,400,83,606,694,1173,658,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365822b4c1cbcce04446c2d41651ab33.jpg",[],{"id":61161,"slug":61162,"title":61163,"dynasty":76,"author":1929,"museum":311,"description":61164,"tags":61165,"thumbUrl":61166,"material":139,"size":139,"collection":139,"collections":61167,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},224314,"hua-niao-ce-shi-kai-4-li-shan-224314","花鸟册十开4","画面以写意之笔绘石竹与湖石，粉红花瓣晕染柔润自然，间缀淡紫俏花提亮层次，挺劲绿叶以浓淡墨色写出，尽显花草鲜活姿态。一旁湖石枯笔皴擦，朴拙古雅，与娇柔花枝形成刚柔对照。\n\n左侧题诗笔墨纵逸洒脱，诗书画印相得益彰，将文人闲居消夏的悠然心境寄寓花间。整幅画随性疏朗，鲜活灵动，笔情墨趣间尽显放达雅致的文人意韵，尽显画者率真疏放的创作风骨。",[7,23,24,81,27,83,229,84,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550b3f94de6a3de549f2089b7718f7e.jpg",[],{"id":61169,"slug":61170,"title":14820,"dynasty":76,"author":29211,"museum":311,"description":29212,"tags":61171,"thumbUrl":61172,"material":2164,"size":2165,"collection":139,"collections":61173,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},224288,"qian-zi-wen-fu-shan-224288",[7,86,2570,25,24,1115,263,5153,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa914d3fbe1a9706062a7d66ca91061e6.jpg",[],{"id":61175,"slug":61176,"title":61177,"dynasty":76,"author":46196,"museum":311,"description":61178,"tags":61179,"thumbUrl":61180,"material":2164,"size":2165,"collection":139,"collections":61181,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[7,23,24,81,27,29,867,109,174,266,3620,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthu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染，画中人物勾勒傅粉，神态宛然。",[7,23,27,29,177,81,12197,61286,108,109,34,106,176],"溪堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ea6fdd85cb95cb5ff01fc824ad93a5.jpg","22.5*24.5CM",[],{"id":61291,"slug":61292,"title":61293,"dynasty":18,"author":278,"museum":206,"description":61294,"tags":61295,"thumbUrl":61296,"material":573,"size":61297,"collection":139,"collections":61298,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},223498,"mu-mo-gu-ting-tu-yi-ming-223498","木末孤亭图","以半边构图铺展秋江暮色，危崖拔地而起，亭台凌于木末，枝叶染秋红暗递清寂。崖下二人曳杖徐行，抬眼望向烟水浩渺的平湖，远汀渔舟隐现，萧散悠然。\n\n笔墨清润简淡，斧劈皴勾勒山石棱骨，晕染轻敷出秋岚空蒙。咫尺纨扇载起林丘烟水，将登高骋怀的幽逸散淡融在留白间，以小见大铺展出无尽江湖意趣，萧瑟秋意里漫溢出林泉高致的悠然闲情。",[7,23,24,1352,29,173,177,175,5967,34,106,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1bc261b54c40fc795c794e91aa014b9.jpg","23.3厘米横24.6厘米",[],{"id":61300,"slug":61301,"title":61302,"dynasty":76,"author":278,"museum":206,"description":61303,"tags":61304,"thumbUrl":61305,"material":712,"size":61306,"collection":139,"collections":61307,"showCount":857,"zanCount":1337,"manualWeight":48,"mainColor":94},223451,"shou-zhang-jin-zhi-yi-ming-223451","寿长金芝","此作右幅工笔绘就，靛蓝底色晕开幽谧氛围，石畔桃枝轻斜，粉花柔妍盛放，芝草挺生于苍苔之间，设色明丽和谐，花木生机盎然，暗合祥瑞意趣。左页题诗笔致清隽，与画面相映成趣，以芝、桃寄寓福寿绵长的美好祈愿。整体雅致温婉，将吉祥寓意融于清雅景致里，工细笔触晕染出古雅静穆的氛围感，尽显雅致的审美意趣与隽永的美好寄寓。",[7,23,28,27,81,264,9249,4272,176,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61a6a960717e744e9488977b6dde3b6e.jpg","39 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。",[7,86,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448df518f34613d1bff7eff5d5a789d.jpg","纵31.2厘米，横38厘米",[328],{"id":61540,"slug":61541,"title":61542,"dynasty":189,"author":61543,"museum":20,"description":61544,"tags":61545,"thumbUrl":61546,"material":699,"size":61547,"collection":328,"collections":61548,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},221725,"qi-qi-tie-wang-li-shi-221725","骑气帖","王礼寔","《骑气帖》释文\n此帖是王礼寔写给陈植的一通信札。王、陈二人当时都在平江路（今苏州），所以礼寔有幸“追陪左右宴游”。帖中称陈植“年当强仕”，时陈植40岁，信应书于其时。书法整秀，承袭赵孟頫、鲜于枢风范。\n此帖明代时由项元汴收藏，钤鉴藏印多方。清代入乾隆内府。《石渠宝笈》初编卷十《元名家尺牍册》著录。",[7,24,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F304207807a87468592d5b6ee5f2c8697.jpg","纵31.1厘米，横58.9厘米",[328],{"id":61550,"slug":61551,"title":35186,"dynasty":189,"author":13710,"museum":311,"description":61552,"tags":61553,"thumbUrl":61554,"material":637,"size":61555,"collection":139,"collections":61556,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},221718,"shi-liu-luo-han-tu-juan-yan-hui-221718","在画法上，能作细致的工笔描绘，但大多喜作水墨粗笔，用笔劲健豪放。笔法粗犷，有梁楷遗法，以水墨画居多。颜辉的作品流传日本较多，对日本室町时代的绘画有较大影响。亦工山水，得北宋李成、郭熙法。所作人物，造型奇特，性格突出。笔法粗厚，钩勒粗细咸宜，起伏有致，渲染精到，以水墨烘晕，使画面衬托出阴暗凹凸，富立体感，有“笔法奇绝，八面生意”之称，这是一种前无古人之创新画法，柳贯赞之为“收揽奇怪一笔摸”，与梁楷、法常一脉相承。所画铁拐李目光咄咄逼人，形貌粗陋却一身正气，反映出仇视当权者之强烈情绪。亦善画猿，曾作《百猿图》，时人戴良释解其画意为褒扬“猿之仁也”。",[7,209,23,24,25,243,27,106,226,384,228,8436,808,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddac756f2f89593d787704e92b86bde9.jpg","25x256",[],{"id":61558,"slug":61559,"title":61560,"dynasty":18,"author":61561,"museum":20,"description":61562,"tags":61563,"thumbUrl":61564,"material":40,"size":61565,"collection":139,"collections":61566,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},221683,"kong-dong-wen-dao-tu-quan-juan-yang-shi-chang-221683","崆峒问道图全卷","杨世昌","绘轩辕黄帝访仙人广成子于陕西崆峒山，询问治身成仙术之传奇故事。画中一石榻铺兽皮，一长髯仙人斜坐榻上睨目倾听，右下跪一朱衣王者，执笏陈辞，诚恳严肃。杨世昌，金代道士，善画人物、山水。",[7,23,24,25,173,178,621,86,174,1542,263,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a0cfaddf2cb41c45042705e95729b8a.jpg","纵28.2厘米，横49.5厘米",[],{"id":61568,"slug":61569,"title":61570,"dynasty":204,"author":14070,"museum":20,"description":14071,"tags":61571,"thumbUrl":61572,"material":14074,"size":14075,"collection":139,"collections":61573,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},221168,"shi-liu-luo-han-xiang-bin-du-luo-ba-luo-duo-du-zun-zhe-tang-ka-bu-ben-guan-xiu-221168","十六罗汉像-賓度羅跋囉惰闍尊者（唐卡布本）",[7,23,24,225,27,243,106,65,228,12210,3609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbae949d0953f6ad40d361d918db42d06.jpg",[],{"id":61575,"slug":61576,"title":61577,"dynasty":54,"author":278,"museum":311,"description":61578,"tags":61579,"thumbUrl":61580,"material":139,"size":139,"collection":328,"collections":61581,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},221125,"can-pian-yi-ming-221125","残篇","这卷残本行书抄录唐人题咏，纸面虽经岁月侵蚀，斑驳剥落，墨色却依旧清润秀雅。笔意舒展灵动，结体宽和舒展，带着唐代民间行书独有的随性腴润。诗文排布错落有序，日常抄写的松弛质感，融着唐人特有的风雅意趣。残损的纸痕如时光镌刻的印记，让千年笔墨的温度与岁月沉郁交织，既留存了唐音诗韵的文献价值，也尽显唐代民间书法的审美意趣，是跨越时光的风雅遗珍。",[7,86,25,621,178,5152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0187b7e9d07e357884451acccd4e421a.jpg",[328],{"id":61583,"slug":61584,"title":61585,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":61586,"thumbUrl":61587,"material":699,"size":4054,"collection":139,"collections":61588,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},220288,"huang-shan-tu-ce-37-hong-ren-220288","黄山图册-37",[7,209,23,24,81,177,27,29,108,109,176,865,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70e277b94dfe9c6eeb04e5a7b98c942.jpg",[],{"id":61590,"slug":61591,"title":61592,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":61593,"thumbUrl":61594,"material":699,"size":4054,"collection":139,"collections":61595,"showCount":857,"zanCount":2209,"manualWeight":48,"mainColor":94},220279,"huang-shan-tu-ce-45-hong-ren-220279","黄山图册-45",[7,23,24,29,81,173,177,30,1365,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa132847aaeea9e72131397153387266a.jpg",[],{"id":61597,"slug":61598,"title":61599,"dynasty":76,"author":4050,"museum":20,"description":4051,"tags":61600,"thumbUrl":61601,"material":699,"size":4054,"collection":139,"collections":61602,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":94},220277,"huang-shan-tu-ce-47-hong-ren-220277","黄山图册-47",[7,23,173,177,81,29,175,108,109,176,866,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6cda6b166036c2ddff5b9d2083d9e2.jpg",[],{"id":61604,"slug":61605,"title":61606,"dynasty":189,"author":9788,"museum":206,"description":61607,"tags":61608,"thumbUrl":61609,"material":123,"size":10625,"collection":139,"collections":61610,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":49},219107,"hua-hui-ce-wu-tong-wang-yuan-219107","花卉册-梧桐","枝干盘曲如篆，墨线勾勒间见苍劲之态；叶片层叠舒展，脉络细劲如丝，淡赭晕染出温润秋意。含苞的花萼敛着几分怯意，似欲在绢素上悄然绽露芳华。无浓艳敷彩，却以简净笔触捕捉梧桐清疏之姿，墨色与绢本底色交融，晕开文人画的雅致气韵。每片叶的翻转、每道枝的曲直，皆藏着对自然的细致观照——静谧中透着生机，淡远里含着深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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[7,23,209,244,173,106,29,13899,22594,8436,266,34,109,2159,263,4850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],{"id":62401,"slug":62402,"title":62403,"dynasty":99,"author":62404,"museum":311,"description":62405,"tags":62406,"thumbUrl":62407,"material":2164,"size":2165,"collection":139,"collections":62408,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},287945,"yan-shi-shui-xian-tu-zhou-lu-tian-ru-287945","岩石水仙图轴","卢天如","此作用淡墨写意落笔，兰叶以中锋写就，舒展挺劲，交叠错落间尽显柔韧生机。水仙花瓣以淡墨轻勾晕染，清雅秀润，细碎花序点缀其间，幽淡雅韵扑面而来。右侧岩石以枯淡侧锋皴擦，不取精细形貌，独取荒朴沉静之态，与水仙灵秀相映成趣。浅笔点染地面细草，极简笔墨便铺就清寂幽境。\n\n整体笔墨简淡秀雅，不事浓艳，以写意之姿托举出水仙的清逸高洁，寥寥数笔便勾勒出幽淡出尘之境，尽显水墨写意的含蓄雅致，将水仙冰肌玉骨的品性描摹得恰如其分。",[7,23,173,225,83,405,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01abbc0500f8034b968960ab0eb92e70.jpg",[],{"id":62410,"slug":62411,"title":41742,"dynasty":99,"author":278,"museum":311,"description":62412,"tags":62413,"thumbUrl":62414,"material":2164,"size":2165,"collection":139,"collections":62415,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},287860,"luo-han-tu-li-zhou-yi-ming-287860","画面以多层排布铺陈意境，自左上云端高台、中层朱栏台阁再到下方莲云，层次分明。一众罗汉神态各殊，或围坐清谈，或凭栏观览，或乘云徐行，将出尘散逸的性情刻画入微。衣纹以遒劲铁线描勾勒，褶皱流转自然，配色沉凝古雅，深褐底色晕染出古旧质感，朱红、石青的衣饰点缀其间，鲜亮却不艳俗，烘托出静谧禅意。整体兼具宗教绘画的肃穆感与文人意趣，笔致工细又带着写意的灵动，仿佛将清寂林泉间的禅语清谈定格于绢素之上，尽显超凡出尘的悠然气韵。",[7,23,225,24,243,27,106,18311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2470745f9df335a219b39eae46620eb8.jpg",[],{"id":62417,"slug":62418,"title":2080,"dynasty":99,"author":278,"museum":311,"description":2081,"tags":62419,"thumbUrl":62421,"material":2164,"size":2165,"collection":139,"collections":62422,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},287519,"ting-qin-tu-zhou-yi-ming-287519",[7,23,225,27,106,402,285,175,62420,210],"听琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa89ebe350d23e5e95fc8091f4f9ea7.jpg",[],{"id":62424,"slug":62425,"title":62426,"dynasty":76,"author":4406,"museum":311,"description":43661,"tags":62427,"thumbUrl":62428,"material":2164,"size":2165,"collection":139,"collections":62429,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},287438,"fang-zi-jiu-shan-shui-wang-jian-287438","仿子久山水",[7,1352,23,24,29,173,105,177,557,34,35,174,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06055f87cd31c4518322ae50a39d4b51.jpg",[],{"id":62431,"slug":62432,"title":62433,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":62434,"thumbUrl":62435,"material":2164,"size":2165,"collection":139,"collections":62436,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},283745,"shu-hua-he-bi-juan-dong-qi-chang-283745","书画合壁卷",[7,209,23,24,25,173,86,178,29,557,1082,28166,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9730d590d7dfec6d881d41f1b0e097.jpg",[],{"id":62438,"slug":62439,"title":62440,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":62441,"thumbUrl":62442,"material":2164,"size":2165,"collection":139,"collections":62443,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},283708,"pan-gu-xu-shu-hua-he-bi-juan-dong-qi-chang-283708","盘谷序书画合璧卷",[7,209,23,25,14394,27,29,557,34,4970,2570,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9014f8bc1998914af824e954e462d91d.jpg",[],{"id":62445,"slug":62446,"title":62447,"dynasty":99,"author":14621,"museum":311,"description":62448,"tags":62449,"thumbUrl":62451,"material":2164,"size":2165,"collection":139,"collections":62452,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},241149,"xin-chun-deng-shi-han-zhu-zhan-ji-241149","新春等诗翰","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”，书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[7,86,178,25,263,1775,18916,9575,62,734,282,9574,2279,19073,62450],"地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be7a94c8a0c1162eee63a9d2c0330ac.jpg",[],{"id":62454,"slug":62455,"title":62456,"dynasty":99,"author":62457,"museum":20,"description":62458,"tags":62459,"thumbUrl":62460,"material":3071,"size":62461,"collection":328,"collections":62462,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},240030,"dong-zhuang-za-yong-shi-juan-shao-b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第2屏",[7,23,28,27,106,402,10012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf5720eb89db9c8280e686504a7f874.jpg",[],{"id":62580,"slug":62581,"title":62582,"dynasty":277,"author":62583,"museum":311,"description":62584,"tags":62585,"thumbUrl":62586,"material":2164,"size":2165,"collection":139,"collections":62587,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},231720,"ri-ben-lian-cang-shi-dai-di-qi-juan-juan-ben-fa-yan-yuan-yi-231720","日本镰仓时代 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山岳松林图","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[7,23,24,173,27,177,29,734,1365,62594,5633],"山岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cae223afb7683f359816c689e347ba.jpg",[],{"id":62598,"slug":62599,"title":62600,"dynasty":99,"author":862,"museum":311,"description":62601,"tags":62602,"thumbUrl":62603,"material":9374,"size":62604,"collection":139,"collections":62605,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[7,23,24,25,29,27,177,28,30,176,34,37,966,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":62607,"slug":62608,"title":62609,"dynasty":99,"author":278,"museum":222,"description":62610,"tags":62611,"thumbUrl":62612,"material":67,"size":62613,"collection":139,"collections":62614,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},231543,"han-yi-ke-xiang-yi-ming-231543","韩宜可像","洪武元年（1368），荐授山阴教谕，旋升为监察御史。耿直敢言，弹劾不避权贵。时丞相胡惟庸、御史大夫陈宁、中丞涂节得宠于太祖朱元璋。一日，三人正与太祖从容燕语，宜可直入出示劾稿，弹劾三人险恶奸佞，恃功怙宠，专权树党，擅作威福等罪状，奏请斩此三人。太祖大怒说：“快口御史，竟敢排陷大臣！”命锦衣卫逮捕下狱。旋即释放。洪武九年（1376年），出为陕西按察司佥事。当时官吏有罪，凡处笞刑以上者皆谪屯凤阳，韩宜可上疏抗争，认为官吏有罪，当按情节轻重分别治罪，不宜一概谪屯凤阳。太祖从之。后入朝京都，太祖将罪人没官男女赐予诸司，韩宜可独不受，极言“有罪不应牵连家属，为古来定制。家属连坐，乃滥施刑罚。罪人家属无罪，不当以罪人家口分给各官”。\n曾奉命撰写祭祀钟山、大江文，谕日本、征乌蛮诏，皆合旨意，特授山西右布政使。后因事被谪云南。建文帝即位，起用为云南参政，入拜左副都御史，卒于官。",[7,23,27,28,106,63,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cd3ccfa03c0eb32543d33b262f1351.jpg","142.9x82.1厘米",[],{"id":62616,"slug":62617,"title":42097,"dynasty":76,"author":42098,"museum":311,"description":62618,"tags":62619,"thumbUrl":62621,"material":139,"size":139,"collection":139,"collections":62622,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[7,23,173,177,225,29,4272,35,108,109,174,176,34,1267,62620],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":62624,"slug":62625,"title":62626,"dynasty":76,"author":22959,"museum":311,"description":62627,"tags":62628,"thumbUrl":62629,"material":139,"size":139,"collection":139,"collections":62630,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[7,23,24,25,27,177,28,29,865,1365,4778,176,31,11890,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":62632,"slug":62633,"title":2241,"dynasty":76,"author":522,"museum":311,"description":62634,"tags":62635,"thumbUrl":62636,"material":139,"size":139,"collection":139,"collections":62637,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},230888,"hua-hui-tu-huang-shen-230888","此作以书入画，笔墨淋漓放旷。起首牡丹以淡墨晕瓣、浓墨点苔，脱尽艳俗，尽显清妍雍容。转而绘荷与水仙，老辣纵逸的笔法勾花叶枯荣俯仰，以枯湿浓淡尽显花木生姿，删繁就简，形神兼得。\n\n通卷穿插狂草题诗，书法与绘事相融无间，笔势奇崛跌宕，笔墨风神互通，将诗书画印合一的文人意趣尽致挥洒，一扫拘谨匠气。纵横挥洒间，花木清雅与狂放文心浑然一体，处处皆是超逸不羁的意气，尽显疏野纵宕的大写意气度，把文人画的洒脱风骨寄寓于一花一叶之中。",[7,23,24,25,173,178,2570,86,263,83,227,369,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff735c9e73f19409ab108e9dd0254b44d.jpg",[],{"id":62639,"slug":62640,"title":62641,"dynasty":277,"author":278,"museum":311,"description":62642,"tags":62643,"thumbUrl":62644,"material":2164,"size":2165,"collection":139,"collections":62645,"showCount":350,"zanCount":2209,"manualWeight":48,"mainColor":49},230837,"cai-hui-san-jie-jiu-di-zhi-tu-yi-ming-230837","彩绘三界九地之图","以层叠佛塔为骨，将抽象的佛教宇宙观具象铺展。朱墨敷色标注界域，图文互证解读诸天与地界奥义。上部天界楼宇错落，标注诸天境域，演绎空寂梵天；中层佛塔层层递进，楼宇渐次铺陈，诠释世间修行的阶位；下部以虬龙缠绕阎浮提，水波晕染出幽冥地宫，勾勒出地下冥府的幽渺。\n\n古拙线条晕开岁月痕迹，质朴设色带着民间绘卷的厚重质感，将虚无的宗教寰宇，转化为可观可感的视觉长卷，藏着千年前对天地、修行与幽冥的终极遐想。",[7,243,104,27,8041,107,114,32058,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae48eafbef300dc3e20709d2afdb6183.jpg",[],{"id":62647,"slug":62648,"title":23176,"dynasty":277,"author":278,"museum":311,"description":62649,"tags":62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四季山水图（春）",[7,23,24,209,225,177,173,27,29,734,384,558,114,1265,7690,1267,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":62669,"slug":62670,"title":62671,"dynasty":277,"author":19249,"museum":311,"description":62672,"tags":62673,"thumbUrl":62674,"material":139,"size":139,"collection":139,"collections":62675,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},230486,"zu-shi-tu-shou-ye-yuan-xin-230486","祖师图","画面以飞瀑奇峰开篇，峭壁间白练倾泻而下，撞破山岩的沉凝厚重。古松虬枝横斜，苍劲盘曲，将山野荒古之气铺展开来。雾霭轻笼林谷，柔化了山石棱角，让刚硬的笔墨晕出幽柔的空濛。\n\n拄杖祖师衣袂飘然，独立山巅凝神静望，身影与林泉相融，禅意随云气漫溢。山石以利落斧劈皴勾勒，苍劲老辣，云雾则以淡墨晕染，柔润朦胧。刚柔相生间，将隐者遁入林泉的静穆空灵尽数铺陈，幽寂清远的禅意扑面而来，恍若能听松涛瀑鸣，沉陷这山野禅境之中。",[7,23,24,27,177,29,106,466,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad9555eacda81006abbe5bbe1fcec16.jpg",[],{"id":62677,"slug":62678,"title":62679,"dynasty":76,"author":278,"museum":311,"description":62680,"tags":62681,"thumbUrl":62682,"material":139,"size":139,"collection":139,"collections":62683,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},230312,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-qian-long-huang-hou-yi-ming-230312","历代帝王贵妃大臣朝服像(乾隆皇后)","此作工笔细腻，以沉郁赭色铺底，烘托出静穆庄重的氛围。皇后吉服袍以石青为地，通身盘金绣五爪祥龙，辅以五彩祥云、江崖海水纹样，绣线光泽莹润，龙姿矫健灵动，尽显织造工艺之精绝。暖红小朝冠鲜亮沉稳，与深色素袍相映。面容刻画写实温婉，神色端凝肃穆，静坐宝椅间，衣褶晕染细腻柔和，纹样排布规整华丽，既彰显出皇家礼制的森严庄重，又将后妃雍容端方的气度尽数展现，细节间满溢着肃穆华贵的宫廷气韵。",[7,315,28,27,106,341,340,225,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70480099c0540bd5bc13da78477bfe11.jpg",[],{"id":62685,"slug":62686,"title":62687,"dynasty":76,"author":18846,"museum":311,"description":29608,"tags":62688,"thumbUrl":62689,"material":2164,"size":2165,"collection":139,"collections":62690,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":255},230262,"xing-shu-ping-hong-yi-fa-shi-230262","行书屏",[7,24,86,178,225,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b95c1c2c8e73c2f6380e9891c18569.jpg",[],{"id":62692,"slug":62693,"title":62694,"dynasty":76,"author":62695,"museum":311,"description":62696,"tags":62697,"thumbUrl":62698,"material":139,"size":139,"collection":139,"collections":62699,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[7,23,24,225,173,177,29,7944,108,109,34,176,35,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":62701,"slug":62702,"title":62703,"dynasty":76,"author":10000,"museum":311,"description":62704,"tags":62705,"thumbUrl":62707,"material":139,"size":139,"collection":139,"collections":62708,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},228947,"qing-sha-ji-ying-tu-zhou-bian-shou-min-228947","晴沙集影图轴","《边寿民晴沙集影图轴》是清代边寿民创作的一幅画。\n此图是边寿民画芦雁的代表作。\n图上仅绘芦苇丛边二雁，悠闲宁静，姿态生动自然。\n用笔洗练娴熟，墨色深浅把握自如，反映了画家长期与雁朝夕相对，观察入微，从而达到了“自与心会，画与神契”的意境。\n本幅自题：“晴沙集影，淮海边寿民。\n”钤“颐公”白文印、“寿民”白文印。",[7,23,173,400,225,3899,3898,62706,282],"沙滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a00d913eb5abd9abc798528abcda85b.jpg",[],{"id":62710,"slug":62711,"title":62712,"dynasty":99,"author":62713,"museum":311,"description":62714,"tags":62715,"thumbUrl":62717,"material":2164,"size":2165,"collection":139,"collections":62718,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},228904,"zhong-li-quan-du-hai-tu-zhao-qi-228904","钟离权渡海图","赵淇","此图绘八仙之一的汉钟离渡海故事。钟离权复姓钟离，汉代大将军，后得道成仙。故称“汉钟离”。此作人物的设色用笔与海水水纹的描绘俱与藏于中国美术馆的明代刘俊绘刘海渡海图相近。但克利夫兰美术馆馆方定其是赵淇所画，或有所据。",[7,23,24,225,27,28,106,243,436,1918,2186,23785,62716],"赤足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dead76f2e44619e34dd4602aa949ed4.jpg",[],{"id":62720,"slug":62721,"title":62722,"dynasty":99,"author":278,"museum":311,"description":62723,"tags":62724,"thumbUrl":62725,"material":2164,"size":2165,"collection":139,"collections":62726,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},228804,"luo-han-zhu-shou-tu-yi-ming-228804","罗汉祝寿图","画面上下错落铺陈，上方罗汉群像各呈神采，或清癯蔼然，或虬髯肃穆，侍童恭谨随侍，衣纹华彩层叠，晕染细腻，尽显出尘庄严。下方水府神祇率众赴贺，灵怪蛟龙环伺，云涛与浪涛交织翻涌，天际红日悬垂，铺就祥瑞恢宏的祝寿氛围。\n\n整作设色沉厚古雅，矿物颜料晕开浓郁古韵，线条刚柔相济，既绘就罗汉的超然神态，亦勾勒出水族神祇的灵动狞厉，佛道交融的贺寿主题融于尺幅之间，将仙界嘉会的雍容祥瑞尽数铺展，尽显明代宗教人物画的精工意趣。",[7,23,24,939,28,27,243,106,18311,2162,245,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9dea4989bd43ec9d2423529c0f803.jpg",[],{"id":62728,"slug":62729,"title":62730,"dynasty":99,"author":278,"museum":311,"description":62731,"tags":62732,"thumbUrl":62733,"material":139,"size":139,"collection":139,"collections":62734,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",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屋舍，为清寂山林晕开一丝暖意，将山野的静穆与山居的幽隐相融。全作用墨沉郁古雅，以浓淡变化区分山石阴阳向背，枯涩的笔意尽写冬日山林的清寥，暗合林泉高致的隐逸之思，把冬日山野的荒寒淡远与幽居意趣揉合，意境静雅清和。",[7,23,24,1352,29,177,27,1423,866,557,108,109,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":62803,"slug":62804,"title":62805,"dynasty":18,"author":278,"museum":311,"description":62806,"tags":62807,"thumbUrl":62808,"material":139,"size":139,"collection":139,"collections":62809,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},227919,"dan-ping-qiu-hui-tu-ye-yi-ming-227919","胆瓶秋卉图页","《宋扇面画胆瓶秋卉图》是宋代佚名画家创作的一幅设色扇面画，现藏于 。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[7,209,23,24,81,28,27,83,407,228,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":62811,"slug":62812,"title":62813,"dynasty":18,"author":278,"museum":206,"description":62814,"tags":62815,"thumbUrl":62816,"material":712,"size":139,"collection":139,"collections":62817,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[7,23,24,25,243,104,27,106,107,108,266,433,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":62819,"slug":62820,"title":62821,"dynasty":18,"author":278,"museum":311,"description":62822,"tags":62823,"thumbUrl":62824,"material":139,"size":139,"collection":139,"collections":62825,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[7,209,23,24,28,27,177,29,176,107,466,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":62827,"slug":62828,"title":62829,"dynasty":18,"author":278,"museum":311,"description":62830,"tags":62831,"thumbUrl":62832,"material":139,"size":139,"collection":139,"collections":62833,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},227888,"jiang-shan-dian-ge-tu-ye-yi-ming-227888","江山殿阁图页","此作为典型的宋代界画小品，以界尺精工勾绘殿阁重楼，层台叠宇错落排布，朱栏墨瓦细节毕现，梁柱斗拱的规制严整入微，尽显苑囿楼宇的雍容富丽。一侧江天浩渺，淡墨晕染的远山轻描淡写，与工整严谨的殿阁形成虚实对照。\n\n几株垂柳轻曳，点景人物凭栏伫立，为森严的楼阁增添几分灵动生气。咫尺扇面之内，将人工匠造的规整与山水的清远空灵相融，于方寸间铺展出阔大悠远的意境，尽显院体绘画的精湛造诣。",[7,23,1352,104,27,29,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6bf586b9279ce366a700cdf11fca25.jpg",[],{"id":62835,"slug":62836,"title":62837,"dynasty":18,"author":278,"museum":311,"description":62838,"tags":62839,"thumbUrl":62840,"material":139,"size":139,"collection":139,"collections":62841,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},227877,"liu-yin-zui-gui-tu-ye-yi-ming-227877","柳荫醉归图页","淡墨晕染出朦胧暮色，岸旁垂柳虬曲柔条拂垂，晕染出郊野空寂慵懒的氛围。画面里二人踉跄前行，袒胸老者脚步虚浮、眉眼惺忪，同伴侧身相挽，将酒后酣醉的神态描摹得鲜活传神。衣纹以简练折线勾勒，灵动写意，袒露的胸腹更添随性不羁之感。细笔点染的苔石杂草，衬出初夏郊野的闲散意趣。\n\n整幅小品以小见大，将市井酒徒的闲散意趣刻画入微，于淡墨轻岚间尽显宋人雅致的日常烟火，把酒后踉跄相依的鲜活模样定格，是极具生活意趣的风俗佳作。",[7,209,23,24,1352,173,27,244,106,2607,384,109,10766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07731deb8fe6e8511dbfea680bcab0c.jpg",[],{"id":62843,"slug":62844,"title":62845,"dynasty":18,"author":278,"museum":311,"description":62846,"tags":62847,"thumbUrl":62848,"material":139,"size":139,"collection":139,"collections":62849,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},227871,"song-gu-wen-dao-tu-yi-ming-227871","松谷问道图","这幅山水小品以淡墨晕染出烟岚轻笼的山谷，留白营造出朦胧空寂的悠远意境。右下古松虬曲苍劲，疏枝错落尽显山野清趣，山石以简淡皴擦勾勒，带着朴拙古雅的质感。\n\n林下二人，一人趺坐松下安闲垂目，一人躬身持礼似在问道，寥寥数笔便将山林雅聚的隐逸意趣刻画尽致。边角古印晕染着岁月沉淀的静穆，整幅画作以简驭繁，将幽闲林下意趣融于尺幅之间，笔墨清简却意韵悠长，尽显雅致的文人山水格调。",[7,23,24,27,177,263,29,1365,106,176,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1b020784fb705e4d7c880712aa2ad.jpg",[],{"id":62851,"slug":62852,"title":62853,"dynasty":18,"author":278,"museum":311,"description":62854,"tags":62855,"thumbUrl":62856,"material":139,"size":139,"collection":139,"collections":62857,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},227870,"song-xi-fang-ting-tu-yi-ming-227870","松溪放艇图","近岸危石之上老松虬曲蟠郁，旁生枯木寒枝，晕染出深秋荒寂之态。远山以斧劈皴简括勾勒，隐现于淡墨烟霭之中，将江面衬得愈发空阔辽远。水面之上扁舟随波缓行，渔翁垂竿静坐，天地间只剩水波漾开的清寂。\n\n全幅以水墨晕染江南水滨的空濛氤氲，落笔苍劲老辣，皴擦利落，以小景写尽江湖林泉的幽远萧散。将隐士寄情烟波、与世无争的隐逸襟怀融于尺幅间，淡远空灵，尽显宋人山水小品以小见大的精妙，余韵悠长。",[7,23,24,2042,1352,173,27,29,177,1365,468,174,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94dd824de3650215297d3eba319e3578.jpg",[],{"id":62859,"slug":62860,"title":62861,"dynasty":18,"author":13738,"museum":311,"description":62862,"tags":62863,"thumbUrl":62864,"material":139,"size":139,"collection":139,"collections":62865,"showCount":350,"zanCount":2209,"manualWeight":48,"mainColor":94},227709,"xie-shen-lao-jun-bie-hao-shi-shi-tu-juan-wang-li-yong-227709","写神老君别号事实图卷","《寫神老君別號事實圖》相傳爲南宋王利用所作，現藏於美國納爾遜美術館。絹本，設色。 南宋進士王利用，字賓王，今四川綿陽人，善於畫山水人物，其書法也是一絕，宋高宗尤其喜歡其書法，愛屋及烏自然也對其畫作頗爲讚賞，但就後人評述，其畫作藝術價值略遜於書法。\n\n王利用入仕之後，成爲了一名宮廷畫師，其畫作多爲宋代院體畫，其中最具代表的就是這幅《寫神老君別號事實圖》。\n\n作爲中國傳統宗教，道教的文化頗爲深入人心，尤其是在宋代這樣一個文化大發展的時代，道教的發展也到達了巔峯。關於道教創始人老子的傳說也非常繁多，本作就講述了老子的前世今生。以三皇時代開始，上三皇時爲玄中法師，下三皇時爲金闕帝君……直到周文王時文邑先生爲止，共10個別稱。",[7,23,24,25,28,27,106,243,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5de22a118e47aaca2e25a2be1379de.jpg",[],{"id":62867,"slug":62868,"title":62869,"dynasty":18,"author":746,"museum":311,"description":62870,"tags":62871,"thumbUrl":62872,"material":139,"size":139,"collection":139,"collections":62873,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},227502,"xin-sui-zhan-qing-ren-lai-de-shu-tie-he-juan-su-shi-227502","新岁展庆.人来得书帖合卷","《新岁展庆、人来得书帖》合卷，北宋，苏轼书，纸本，行书，前帖纵30.2厘米，横48.8厘米，后帖纵29.5厘米，横45.1厘米。\n《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[7,86,178,25,263,622,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233edbd97200e5b0efe464964aa1c7a3.jpg",[],{"id":62875,"slug":62876,"title":62877,"dynasty":18,"author":278,"museum":311,"description":62878,"tags":62879,"thumbUrl":62880,"material":139,"size":139,"collection":139,"collections":62881,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},227345,"que-zuo-tu-yi-ming-227345","却座图","此幅绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。”文帝不悦但理在袁盎，只得纳谏，慎妃也只好悻悻而起。该画侧重表现矛盾化解过程中人物微妙的心理变化。本幅人物描绘生动，开脸俊美，衣纹用笔精诣，傅色雅美。配景树石花草，白鹤雾霭一一描写逼真，代表了宋代院画之极高水准。",[7,209,23,24,27,28,106,34,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d6d8a8b9805c31d51599d5becaab8a.jpg",[],{"id":62883,"slug":62884,"title":62885,"dynasty":18,"author":57543,"museum":311,"description":57544,"tags":62886,"thumbUrl":62887,"material":2164,"size":2165,"collection":139,"collections":62888,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},225292,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-225292","金刚般若経开题残巻",[7,24,25,86,5152,178,1004,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f5c9eb7296272356e65989911badcc.jpg",[],{"id":62890,"slug":62891,"title":62892,"dynasty":76,"author":62893,"museum":206,"description":62894,"tags":62895,"thumbUrl":62896,"material":67,"size":62897,"collection":139,"collections":62898,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224599,"bai-hai-qing-he-qing-tai-224599","白海青","贺清泰","乾隆四十八年(西元1783)。达拉罕亲王。汪扎尔多尔济进白海青一架。架上白鹰，铁喙钩爪，羽毛洁白，神情威猛，深得写生之妙，此幅当是与郎士宁同时同地写生而成。两位画家从不同角度观察白鹰，并以逼真手法写生下来。\n中西结合的宫廷绘画 清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[7,23,24,225,28,27,83,4451,369,299,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":62900,"slug":62901,"title":62902,"dynasty":76,"author":20745,"museum":311,"description":62903,"tags":62904,"thumbUrl":62905,"material":139,"size":139,"collection":139,"collections":62906,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[7,23,24,25,27,29,866,108,151,86,263,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":62908,"slug":62909,"title":62910,"dynasty":76,"author":7940,"museum":311,"description":62911,"tags":62912,"thumbUrl":62913,"material":139,"size":139,"collection":139,"collections":62914,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},224456,"shan-chuang-feng-xue-tu-wang-hui-224456","山窗封雪图","此作用高远、平远之法铺展冬山雪景，上部危崖积雪，枯笔勾勒石骨，以皴擦带出嶙峋肌理，留白晕染厚雪，尽现山巅清寒孤峭。中层林木萧疏，焦墨写出虬曲枝桠，寒意里更见笔力苍劲。下部溪岸错落村居，雪覆茅檐，静卧于素色天地间，冷寂之中暗涌脉脉烟火暖意。\n\n全幅水墨晕染层次雅致，将北派山水的雄浑苍劲与南宗笔墨的秀润柔和相融，把冬雪封山的空寂辽远与村居安谧完美揉合，于尺幅间铺展冬日山野的清寂诗意。",[7,23,173,29,177,225,7577,558,865,35,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7e2bf5fe9351a53cbd0f3cab14c970.jpg",[],{"id":62916,"slug":62917,"title":1462,"dynasty":76,"author":1215,"museum":311,"description":57810,"tags":62918,"thumbUrl":62919,"material":2164,"size":2165,"collection":139,"collections":62920,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224436,"shan-shui-tu-wang-shi-min-224436",[7,23,1352,173,29,177,34,114,30,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88dd2455359266ee4edecf48f9ce10fd.jpg",[],{"id":62922,"slug":62923,"title":29,"dynasty":76,"author":62924,"museum":311,"description":62925,"tags":62926,"thumbUrl":62927,"material":139,"size":139,"collection":139,"collections":62928,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224435,"shan-shui-wang-yu-224435","王昱","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[7,23,24,29,225,27,173,177,176,34,35,1265,11241,1365,194,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":62930,"slug":62931,"title":49891,"dynasty":76,"author":1584,"museum":311,"description":62932,"tags":62933,"thumbUrl":62934,"material":139,"size":139,"collection":139,"collections":62935,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[7,23,24,25,173,177,29,557,34,35,175,468,108,558,38,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":62937,"slug":62938,"title":62939,"dynasty":76,"author":15807,"museum":311,"description":62940,"tags":62941,"thumbUrl":62942,"material":2164,"size":2165,"collection":139,"collections":62943,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":255},224360,"qing-yong-xing-fu-shuo-ba-ji-xiang-jing-ce-ai-xin-jue-luo-yong-xing-224360","清永瑆佛说八吉祥经册","《佛说八吉祥经》乃佛教经典，内容述说东方八佛之名号（即“八吉祥”），以及持诵此诸佛名号和此经之功德利益。",[7,24,243,81,86,5152,621,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700314aef392bbe1b78d5ae30d511efc.jpg",[],{"id":62945,"slug":62946,"title":62947,"dynasty":76,"author":30073,"museum":311,"description":62948,"tags":62949,"thumbUrl":62950,"material":2164,"size":2165,"collection":139,"collections":62951,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224346,"yan-liu-fu-qing-yun-xi-224346","烟柳浮青","爱新觉罗·胤禧（1711年2月27日—1758年6月26日），避雍正帝讳改名为允禧，字谦斋，号紫噊，别号紫琼崖道人、春浮居士。清朝宗室大臣，康熙帝第二十一子，书画家、诗人，母为熙嫔陈氏。\n九岁从幸塞外，雍正八年（1730年）二月，封固山贝子，晋封贝勒。雍正十一年（1733年），授镶黄旗满洲都统。雍正十三年（1735年），授宗人府左宗正、正黄旗汉军都统。乾隆帝即位后，封慎郡王。乾隆三年（1738年），擢为议政大臣。乾隆五年（1740年），授正白旗满洲都统。乾隆七年（1742年），充玉牒馆总裁。乾隆二十三年（1758年）五月，去世，享年四十八岁，谥号为靖。\n能诗善赋，书画兼长，著有《花间堂诗抄》8卷、《紫琼岩诗抄》3卷，诗词气韵高古，王室罕可匹俦。恭亲王府“天香庭院”匾额，为其手笔。",[7,23,24,27,29,2607,35,108,109,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e304ac9be4b8cdba4fd199f703a2578.jpg",[],{"id":62953,"slug":62954,"title":62955,"dynasty":76,"author":1929,"museum":311,"description":62956,"tags":62957,"thumbUrl":62958,"material":139,"size":139,"collection":139,"collections":62959,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224330,"hua-niao-shi-er-kai-8-li-shan-224330","花鸟十二开8","以留白作冷月，淡墨晕开清寒夜雾，似将月色融在水波之中。三尾游鱼姿态灵动，逆水穿波，浓淡墨色晕出鳞光肌理，简笔勾勒却生机尽显。题诗与画境相映，把秋江月夜的清寂氛围铺陈开来。笔意纵逸随性，极简构图勾勒空濛冷寂的秋夜氛围，淡墨轻岚间尽显写意之妙，将秋江月夜的清宁与游鱼野趣相融，寥寥数笔便将文人画的幽隽禅意藏在水墨之间，尽显闲适自在的画中真意。",[7,23,24,81,173,783,285,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80fc7263cffe35761818ab68354a95e.jpg",[],{"id":62961,"slug":62962,"title":62963,"dynasty":76,"author":1929,"museum":311,"description":62964,"tags":62965,"thumbUrl":62966,"material":139,"size":139,"collection":139,"collections":62967,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[7,23,209,24,81,27,178,263,86,83,940,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":62969,"slug":62970,"title":62971,"dynasty":76,"author":1929,"museum":311,"description":62972,"tags":62973,"thumbUrl":62974,"material":139,"size":139,"collection":139,"collections":62975,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224326,"hua-niao-shi-er-kai-4-li-shan-224326","花鸟十二开4","此作以紫藤栖禽入画，错落布置藤蔓花枝，枯藤蜿蜒承托禽鸟，疏密相生。禽鸟以淡赭晕染翎羽，笔触松灵，将茸毛蓬松质感尽显，朱喙圆目，神采机敏生动。紫藤花色清雅柔淡，紫花白蕊垂悬，墨色枝蔓苍劲写意，尽显花木舒展之姿。画面右侧题诗相伴，诗画相融，尽显文人写意的萧散野趣。笔意简逸却神完气足，将花鸟天然野逸之态生动勾勒，淡冶疏朗间尽显写意花鸟的韵致悠长。",[7,23,24,81,400,27,173,83,266,135,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98fe5b0a0d5e0edbe0f54985d9a40440.jpg",[],{"id":62977,"slug":62978,"title":62979,"dynasty":76,"author":1929,"museum":311,"description":62980,"tags":62981,"thumbUrl":62982,"material":139,"size":139,"collection":139,"collections":62983,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224316,"hua-niao-ce-shi-kai-6-li-shan-224316","花鸟册十开6","此作以水墨淡彩写就，右侧顽石以大写意挥就，焦墨点苔，苍劲朴拙，似藏山野沉浑之气。左侧花枝鲜活灵动，叶片以青绿分染，深浅层叠尽显舒展之姿，粉花柔婉点缀枝梢，轻丽动人。\n\n画面左上题以行书，笔意潇洒跌宕，书画相映成趣。笔致兼具放逸与秀雅，不拘成法，将花木清隽生机与顽石沉静古拙相互映衬，诗书画印浑然一体，把寻常小景绘出悠然林下之致，淡彩晕染衬出雅致格调，墨色干湿浓淡尽显写意意趣，尽显疏朗脱俗的文人审美意韵。",[7,23,24,81,400,27,178,263,229,83,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0972e453f468c17ec7ec34647dfa52a.jpg",[],{"id":62985,"slug":62986,"title":62987,"dynasty":76,"author":29211,"museum":311,"description":29212,"tags":62988,"thumbUrl":62989,"material":2164,"size":2165,"collection":139,"collections":62990,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224287,"lin-ge-tie-fu-shan-224287","临阁帖",[7,86,2570,105,225,263,1115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b00119cc30f6fed906fc16545f664b9.jpg",[],{"id":62992,"slug":62993,"title":62994,"dynasty":76,"author":29211,"museum":311,"description":62995,"tags":62996,"thumbUrl":62997,"material":139,"size":139,"collection":139,"collections":62998,"showCount":350,"zanCount":2209,"manualWeight":48,"mainColor":94},224271,"shan-shui-hua-hui-ce-qi-fu-shan-224271","山水花卉冊(七)","此作用浅赭素绢为底，淡墨晕染山峦，留白如晴雪覆峰，清寂淡远。近景虬松盘曲遒劲，丹红点染秋林，暖意破开空山萧寒。山坳飞檐小楼隐于林岫之间，尽显幽居雅意。\n笔墨简淡松灵，不事雕饰，以简驭繁，将山林秋意里的静穆萧散融于尺幅中，把出世幽居的雅怀寄寓在淡墨轻彩内，平淡天真余韵悠长，尽显文人画简远清逸的意趣。",[7,23,24,81,27,29,107,866,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ac89da8453aafa9c7af4b69dd3c241b.jpg",[],{"id":63000,"slug":63001,"title":1462,"dynasty":76,"author":19726,"museum":311,"description":63002,"tags":63003,"thumbUrl":63004,"material":139,"size":139,"collection":139,"collections":63005,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[7,23,24,225,27,173,29,109,174,34,176,263,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":63007,"slug":63008,"title":139,"dynasty":76,"author":3676,"museum":311,"description":63009,"tags":63010,"thumbUrl":63011,"material":139,"size":139,"collection":139,"collections":63012,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},224213,"wu-chang-shuo-224213","此联以石鼓文为宗，线条雄强苍劲，裹纳金石沉厚质感，字形欹正相生，不刻意求匀齐，自带着烂漫古拙的野趣。起收藏露互见，转折圆劲老辣，将金文的沉雄与草书的跌宕意趣相融，笔墨间苍茫朴野，浑穆高古。\n\n上下联排布疏朗错落，左侧小字题款与主体篆字形成虚实对比，右侧长款呼应平衡全局，整体章法灵动又不失庄重，尽显浑朴高华的宗师气象，把篆籀古意与文人意趣完美糅合，笔底自带斑驳岁月淬炼出的金石韵味。",[7,23,24,86,1163,7024,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc0d298aa4ede4233ec14b2303c93d6.jpg",[],{"id":63014,"slug":63015,"title":13290,"dynasty":18,"author":278,"museum":63016,"description":63017,"tags":63018,"thumbUrl":63019,"material":123,"size":13205,"collection":139,"collections":63020,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},223665,"xue-shan-xing-lv-tu-yi-ming-223665","\u0010台北故宫博物院","以高远笔法铺陈层叠雪山，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王涣像","老者头戴乌纱，一袭宽袖深青素袍以朱红束腰提点，色调清雅克制。他双手敛于袖中，身形微佝，面上沟壑纵横，尽显九十高龄的苍迈迟暮。\n此作线条凝练精准，淡墨晕染出松弛的皮肤纹理，写实勾勒出耄耋老人的神态气韵，将致仕老臣内敛端肃的沉静气度尽显无遗。古旧绢底衬出肖像的静穆质感，带着宋画特有的平和雅致，以极简笔墨写尽老者为官半生后的安然沉稳，尽显宋代肖像画的写实功力。",[7,209,23,24,225,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2a20c3a9cd593416177c1bd5c5372b.jpg",[],{"id":63047,"slug":63048,"title":52319,"dynasty":18,"author":278,"museum":20,"description":63049,"tags":63050,"thumbUrl":63051,"material":40,"size":63052,"collection":139,"collections":63053,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":94},223487,"wu-hua-guo-tu-yi-ming-223487","图中无花果已然成熟，撑开绿萼露出了果实。此图以中锋行笔，淡墨勾勒，线条细劲流畅，显现出画家以线塑形的娴熟功底。叶片色彩的渲染则是先在叶尾部着以墨绿，再用清水将绿色向叶尖晕开，不仅呈现出浓淡有致的色泽变化，且枝叶的鲜活姿态也得以表现。含苞者敷以石绿色，绽开者用白粉染出，清浅的绿色构成画面的主调，体现出宋人花鸟画淡雅清逸的美学品格。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[7,209,23,24,1352,28,27,86,263,52322,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf14fa0588646d6b234f3cb52b18fc.jpg","纵24.8厘米，横25.3厘米",[],{"id":63055,"slug":63056,"title":63057,"dynasty":76,"author":278,"museum":206,"description":63058,"tags":63059,"thumbUrl":63060,"material":841,"size":63061,"collection":139,"collections":63062,"showCount":350,"zanCount":2209,"manualWeight":48,"mainColor":49},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[7,28,27,104,106,107,175,108,109,176,34,150,63,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":63064,"slug":63065,"title":63066,"dynasty":189,"author":278,"museum":206,"description":63067,"tags":63068,"thumbUrl":63069,"material":123,"size":63070,"collection":44,"collections":63071,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},223440,"xuan-fan-yu-hua-tu-zhou-yi-ming-223440","宣梵雨花图轴","此幅画一位蓄须僧人端坐在石上，正在诵读梵文经卷。他的皮肤黝黑，高鼻深目，耳有穿环，从轮廓特征看来应该不是汉人。佛教本是由外地传入的宗教，传世因而也有诸多近于中亚人种造型的胡僧形象，他所阅读的也正是未经中文化的梵文。\n僧人的衣饰精致华美，但表情却虔敬素穆。看他专注的眼神与微张的双唇，似乎对经义心领神会，已有所悟。这时天空中飘下满天花雨，陪侍的白猴也忍不住伸手接取。这样的神迹配合僧人头后的圆光，使得画中更添神异的色彩。\n画中并无绘者的题款。画家描绘人物衣纹的线条圆转，但劲健有力，对僧服上的装饰、飘扬的花朵、以及白猴身上的密毛，不同质感的刻划却十分细腻。山水烟云的背景纯以水墨画成，和衣饰与花雨的鲜艳色彩形成对比。线条粗细兼具、配色明暗协调，在画家的妙笔下，呈现出端凝又神秘的宗教气氛。",[7,23,24,225,243,27,28,106,62,5153,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0f95eadeb3e05a9a8b4a1c9c7942a8.jpg","该幅 175.3x98.2公分；全幅 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学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 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域揉进俗世烟火。线条稚拙古劲，旧色晕染出斑驳岁月感，把乡土信众的精神祈愿与日常意趣融于一纸，是民间宗教美术里兼具信仰温度与生活质感的鲜活范本。",[7,23,24,225,243,8567,27,106,151,5152,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb8e0c2f970caf60dc29334f27c39de.jpg",[],{"id":64275,"slug":64276,"title":62821,"dynasty":18,"author":278,"museum":311,"description":64277,"tags":64278,"thumbUrl":64279,"material":2164,"size":2165,"collection":139,"collections":64280,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},289443,"na-liang-guan-pu-tu-yi-ming-289443","此作以小品尺幅绘就幽寂夏夜，水墨晕染出氤氲湿润的暮色氛围。错落山石环伺水榭，清浅碧波绕阶而过，廊下一人凭栏默然，隐于浓荫翠色间。\n\n画笔工致细腻，以浓淡墨色区分远近层次，林木苍润沉郁，屋舍雅致简净，将炎夏里林泉一隅的凉意尽数铺展。全画不见奔涌飞瀑，却以幽谧氛围烘托出观瀑听泉的雅兴，将宋代文人寄情林泉、消暑寻幽的闲淡心境藏于尺幅间，尽显雅致沉静的古典意趣。",[7,209,23,1352,27,104,106,107,175,229,109,263,86,29,12848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2499ae694906cd477b1746fe1a72d544.jpg",[],{"id":64282,"slug":64283,"title":42968,"dynasty":18,"author":278,"museum":311,"description":64284,"tags":64285,"thumbUrl":64287,"material":2164,"size":2165,"collection":139,"collections":64288,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},289228,"zheng-ren-xiao-fa-tu-yi-ming-289228","松荫浓翳，环抱着两间茅舍，晓色清寂里，即将远行的征人正与屋中友人对晤作别。案头堆叠起打点好的行装，篱边的白马垂首静立，等候着启程的时刻。\n\n整幅小品取景紧凑，以繁密的林木圈住方寸茅庐，将离别的缱绻私语藏在深幽静谧的氛围之中。淡墨轻施晕染出晨晓的朦胧，笔致工细朴拙，未刻意渲染离愁，却把羁旅远行的怅惘与友人相赠的温厚情意，融在这寻常晓发图景里，尽显宋代小品的雅致韵致，于细微处见悠远绵长的诗意。",[7,1352,23,24,28,106,150,64286,1365,467,27],"草舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165145a4bc26c006a7e754dbdfadc7cb.jpg",[],{"id":64290,"slug":64291,"title":64292,"dynasty":277,"author":64293,"museum":311,"description":64294,"tags":64295,"thumbUrl":64296,"material":2164,"size":2165,"collection":139,"collections":64297,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},288999,"bai-shi-shi-juan-teng-yuan-xing-cheng-288999","白氏诗卷","藤原行成","藤原行成（天禄3年（972年） 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万寿4年12月4日（1028年1月3日））是平安时代中期的朝臣。一条帝时代四纳言之一。右少将藤原义孝的儿子，藤原伊尹之孙。官居正二位・权大纳言。",[7,86,25,178,2570,622,24,58754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85dc84d6d4ca382e5d03097722f6b8b9.jpg",[],{"id":64299,"slug":64300,"title":29244,"dynasty":18,"author":278,"museum":311,"description":64301,"tags":64302,"thumbUrl":64303,"material":2164,"size":2165,"collection":139,"collections":64304,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},288848,"zi-mu-ji-tu-yi-ming-288848","以浓黑素地衬出白羽群鸡，明暗对比醒目的同时，更将亲子温情烘托到极致。母鸡翎毛晕染细致蓬松，俯首护雏，将舐犊深情藏在舒展的翅羽与低垂的颈项之中。三只雏鸡或张望、或依偎，稚嫩憨态跃然纸上，鲜活灵动。\n\n画面上方题诗与朱红印章错落排布，书画印相融，将母鸡护育稚子的脉脉温情与禽鸟物性完美结合，工笔写实间饱含温润的人文意趣，把乡野寻常的亲子图景，绘就成满溢烟火暖意的雅致小品，尽显内敛动人的东方温情。",[7,209,23,24,3567,28,27,2801,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ebfe0361f5d0ba56a027bf0fb41a42.jpg",[],{"id":64306,"slug":64307,"title":64308,"dynasty":76,"author":278,"museum":311,"description":64309,"tags":64310,"thumbUrl":64312,"material":2164,"size":2165,"collection":139,"collections":64313,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},288444,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ming-chen-li-yin-zu-yi-ming-288444","历代帝王贵妃大臣朝服像(名臣李荫祖-)","此作工笔写实，尽显官员端方威仪。画师以细腻笔触，将人物沉凝威严的神态尽数铺陈。石青色朝服沉稳厚重，胸前一品仙鹤补子绣工精妙，仙鹤身姿舒展灵动，辅以江崖海水纹样，礼制细节分毫毕现。暖红顶戴、盘绕朝珠点缀其间，色彩搭配沉稳雅致。人物安坐雕花官椅，衣褶晕染自然写实，衣料质感如生。素净背景收拢视线，将观者注意力全然引向人物，形神兼备，既恪守清代肖像画的纪实传统，又以精妙笔触刻画出官员的肃穆气度。",[7,23,24,225,27,28,106,63,344,1028,64311],"名臣肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9709c1d0d6c046e6e8e51009440f2c.jpg",[],{"id":64315,"slug":64316,"title":64317,"dynasty":76,"author":278,"museum":311,"description":64318,"tags":64319,"thumbUrl":64321,"material":2164,"size":2165,"collection":139,"collections":64322,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},288443,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-he-shuo-de-yu-qin-wang-duo-duo-yi-ming-288443","历代帝王贵妃大臣朝服像(和硕德豫亲王多铎)","画面之上，亲王端然安坐，身形沉凝内敛。石青朝服色泽沉穆，胸间补子纹样工细繁复，瑞兽翎羽丝丝毕现，彰显着宗室尊荣的礼制章法。朱红暖调的顶戴与素净袍身相映，打破暗沉色调的同时点明身份品级。\n\n画师以写实笔法描摹，精准复刻清初亲贵威仪，朝珠垂挂错落得体，衣褶晕染贴合身形，静穆庄重的仪态呼之欲出。古旧绢面晕开岁月黄褐痕迹，为肖像更添历史沉韵，将勋贵重臣肃穆端方的气度定格于绢素之上，尽显清代纪实肖像画的严谨与厚重质感。",[7,23,24,225,27,28,106,64320,344],"官服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd279d03346d2df24e8040d1fba33fa0e.jpg",[],{"id":64324,"slug":64325,"title":64326,"dynasty":76,"author":278,"museum":311,"description":64327,"tags":64328,"thumbUrl":64330,"material":2164,"size":2165,"collection":139,"collections":64331,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},288442,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-jia-qing-di-yi-ming-288442","历代帝王贵妃大臣朝服像(嘉庆帝)","此作为工笔重彩肖像，构图端方严整，帝王端坐宝座之上，威仪内敛沉稳。衣袍明黄龙纹织绣精绝，龙姿矫健灵动，辅以繁复宝相花饰，晕染细腻，配色沉穆华贵，朱红镶边衬出尊崇礼制。画师以写实笔触勾勒面容，眉眼刚劲有神，唇角紧抿间尽显九五之尊的端凝气度。背景素净古雅，将视线尽数引向人物，既恪守肖像的礼制规范，又以精湛工笔将帝皇威仪刻画入微，既有纪实的严谨工整，又带着独有的华贵肃穆，尽显肖像画的礼制性与艺术性之美。",[7,23,28,27,106,433,340,64329,225],"帝王像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F906a959d184d25a110bef541d2291e8f.jpg",[],{"id":64333,"slug":64334,"title":64335,"dynasty":76,"author":278,"museum":311,"description":64336,"tags":64337,"thumbUrl":64338,"material":2164,"size":2165,"collection":139,"collections":64339,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},288435,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-qin-wang-pu-jing-yi-ming-288435","历代帝王贵妃大臣朝服像(怡亲王溥静)","爱新觉罗·溥静（1849—1900），爱新觉罗·载敦第一子，同治七年（公元1868年）封为不入八分辅国公，光绪十七年（公元1891年）袭怡亲王，光绪二十六年（公元1900年）薨，后以罪革爵。",[7,23,28,27,36267,340,341,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f69f3640dc0852072d56bbc504dcafe.jpg",[],{"id":64341,"slug":64342,"title":64343,"dynasty":76,"author":278,"museum":311,"description":64344,"tags":64345,"thumbUrl":64346,"material":2164,"size":2165,"collection":139,"collections":64347,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},288434,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-qin-wang-ai-xin-jue-luo-zai-yuan-yi-ming-288434","历代帝王贵妃大臣朝服像(怡亲王爱新觉罗.载垣)","爱新觉罗·载垣（1816年10月16日—1861年10月），清朝宗室亲王、大臣。清圣祖爱新觉罗·玄烨六世孙，怡贤亲王爱新觉罗·胤祥的五世孙，怡恪亲王奕勋次子。世袭和硕怡亲王爵位，十二家世袭铁帽子王之一，咸丰帝顾命八大臣之首。曾任御前大臣行走，亲受顾命。清文宗咸丰帝即位后，渐受信用，累官左宗正、宗令、领侍卫内大臣。\n咸丰十一年，与爱新觉罗·端华、爱新觉罗·肃顺等八人受顾命为赞襄政务大臣，掌握实权。同年，慈禧太后与恭亲王奕訢发动“祺祥政变”，载垣在北京被捕，赐白绢自尽。年四十六岁。",[7,23,106,28,27,340,433,63,46275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa0c1a49c4bdb6d2a89b229ffac0002.jpg",[],{"id":64349,"slug":64350,"title":64351,"dynasty":76,"author":522,"museum":311,"description":50863,"tags":64352,"thumbUrl":64354,"material":2164,"size":2165,"collection":139,"collections":64355,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},288393,"lai-fu-tu-huang-shen-288393","来蝠图",[7,23,24,225,173,27,400,106,1112,1205,1640,64353,4482,3008,86,263,3780],"蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93114a60f6453d3dfac5ef2fcdc2ba14.jpg",[],{"id":64357,"slug":64358,"title":64359,"dynasty":76,"author":2214,"museum":311,"description":24609,"tags":64360,"thumbUrl":64363,"material":2164,"size":2165,"collection":139,"collections":6436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－1381年6月20日 ），初名寿，字景濂，号潜溪，别号龙门子、玄真遁叟等，汉族。祖籍金华潜溪（今浙江义乌），后迁居金华浦江（今浙江浦江）。元末明初著名政治家、文学家、史学家、思想家，与高启、刘基并称为“明初诗文三大家”，又与章溢、刘基、叶琛并称为“浙东四先生”。被明太祖朱元璋誉为“开国文臣之首”，学者称其为太史公、宋龙门。\n宋濂自幼多病，且家境贫寒，但他聪敏好学，号称“神童”。曾受业于闻人梦吉、吴莱、柳贯、黄溍等人。元末辞朝廷征命，修道著书。明初时受朱元璋礼聘，被尊为“五经”师，为太子朱标讲经。洪武二年（1369年），奉命主修《元史》。累官至翰林学士承旨、知制诰，时朝廷礼仪多为其制定。洪武十年（1377年）以年老辞官还乡，后因长孙宋慎牵连胡惟庸案而被流放茂州，途中于夔州病逝，年七十二。明武宗时追谥“文宪”，故称“宋文宪”。\n宋濂与刘基均以散文创作闻名，并称为“一代之宗”。其散文质朴简洁，或雍容典雅，各有特色。他推崇台阁文学，文风淳厚飘逸 ，为其后“台阁体”作家的文学创作提供范本。其作品大部分被合刻为《宋学士全集》七十五卷。",[7,23,24,225,27,106,28,64470,7259,63],"包公","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7631d7703efa22caf61d7406ed79573c.jpg",[],{"id":64474,"slug":64475,"title":64476,"dynasty":18,"author":676,"museum":311,"description":10466,"tags":64477,"thumbUrl":64478,"material":2164,"size":2165,"collection":139,"collections":64479,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":629},287753,"bai-miao-fo-xiang-di-shi-san-zun-zhe-li-gong-lin-287753","白描佛像第十三尊者",[7,23,244,243,106,18311,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d9f8f5cfe42eb5356d47e1f5fae5c27.jpg",[],{"id":64481,"slug":64482,"title":64483,"dynasty":99,"author":62746,"museum":311,"description":64484,"tags":64485,"thumbUrl":64487,"material":2164,"size":2165,"collection":139,"collections":64488,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},287411,"mo-hua-tu-ni-yuan-lu-287411","墨花图","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[7,23,209,24,25,173,83,86,2570,5123,64486,226,84],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb9ce8c4fe4b6b1c1070f6ba3fdab7c.jpg",[],{"id":64490,"slug":64491,"title":64492,"dynasty":99,"author":100,"museum":311,"description":3607,"tags":64493,"thumbUrl":64494,"material":2164,"size":2165,"collection":139,"collections":64495,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},287402,"bei-hu-tu-shou-juan-chou-ying-287402","北湖图手卷",[7,23,25,24,29,27,28,86,2570,178,263,108,109,174,266,107,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668d4ab35bf9efef317abd774bd6b621.jpg",[],{"id":64497,"slug":64498,"title":64499,"dynasty":99,"author":817,"museum":311,"description":27771,"tags":64500,"thumbUrl":64501,"material":2164,"size":2165,"collection":139,"collections":64502,"showCount":441,"zanCount":2209,"manualWeight":48,"mainColor":94},287401,"gui-qu-lai-ci-shu-hua-he-juan-wen-zheng-ming-287401","归去来辞书画合卷",[7,209,23,24,25,173,178,403,226,407,176,55455,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607716fccbee74224664ef217aa869c2.jpg",[],{"id":64504,"slug":64505,"title":64506,"dynasty":99,"author":278,"museum":311,"description":64507,"tags":64508,"thumbUrl":64510,"material":2164,"size":2165,"collection":139,"collections":64511,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},283634,"yu-yu-yu-qing-tu-yi-ming-283634","欲雨欲晴图","此作用米家山水的晕染之法，绘就江南烟霭迷离之景。远景山峦隐没在翻涌云岚间，墨色轻淡柔和，虚实掩映间衬出山光断处的幽远意境。近景汀洲水岸边，村居错落隐在葱郁林木中，板桥连通两岸，扁舟系在浅滩，漾出水乡安闲静穆的日常意趣。\n\n画面以水墨晕染尽显欲雨将晴的湿润空蒙，水汽漫过江渚，笼住层林远山，将江南湿润清宁的氛围感拉满。留白与墨色相融相生，把天地间的朦胧柔婉尽数铺展，带着文人画独有的雅致诗意，观之如亲赴烟雨中的江南水乡，静赏闲淡日常，尽显山水画平淡天真的隽永意趣。",[7,23,209,1218,173,27,108,109,174,35,557,37,34,86,263,64509,18501],"欲雨欲晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a0a5ee8f2e9049eb7b495a8bba539d.jpg",[],{"id":64513,"slug":64514,"title":64515,"dynasty":18,"author":64516,"museum":311,"description":64517,"tags":64518,"thumbUrl":64519,"material":2164,"size":2165,"collection":139,"collections":64520,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},241097,"wu-kuan-deng-ba-jia-ti-hou-chi-bi-fu-tu-ba-wei-can-juan-zhao-yan-241097","无款、等八家题后赤壁赋图跋尾残卷","赵岩","赵岩，原名赵霖，陈州宛丘（今河南淮阳县）人。后梁太祖朱温女婿，忠武军节度使赵犨次子。\n开平初年，授卫尉卿、驸马都尉，转天威军节度使。以勋戚自负，货赂公行，穷奢极欲。后梁灭亡后，为徐州贼温韬所杀。",[7,86,178,173,263,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b05d1f682443c5e4e4879e49df1085a.jpg",[],{"id":64522,"slug":64523,"title":64524,"dynasty":99,"author":12185,"museum":206,"description":64525,"tags":64526,"thumbUrl":64527,"material":64528,"size":64529,"collection":328,"collections":64530,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},241053,"shi-he-juan-wang-feng-yuan-241053","诗合卷","[明]字子新，號吉山。欽佩子。擅海內書名，楷法鍾繇，草法王羲之父子。",[7,24,86,178,25,263,173,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79741274da4dca2dce551b419ee6efa6.jpg","紙本","29.7×30.8cm",[328],{"id":64532,"slug":64533,"title":54050,"dynasty":99,"author":64534,"museum":20,"description":64535,"tags":64536,"thumbUrl":64537,"material":5507,"size":64538,"collection":328,"collections":64539,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},240858,"shi-juan-wang-shi-zhen-240858","王世贞","释文：\n王山人自称十岳，先有二诗见寄，极国士之许，千里命驾，曾未淹日，欲游（留）金陵，长篇志别，拂衣北首，聊此抒赠：凤鸟摩青天，片羽飞东海。却坠七尺篱，鷃目荧然改。得子頷下珠，夜必吐光彩。孙醑骄欲鸣，青灯耿相待。不谓双垂杨，果系出剡舟。野夫虽称病，为汝强梳头。沉沉薜色夏，忽起商（双）飚秋。特达壮士縒，未许黄金酬。谓予九州水，当复有九州。禺儿志五岳，逝将十岳游。酒间叩沂边，泰岱曾入手。马迹重云颠，鸡声浴日后。狂扣玉女盆，中原敬培塿。自揽烟霞色，语语不离口。五岳天中外，子尚余其九。寒暑炼玉容，去日各非有。昔予读损益，亦复思名山。晚师维摩诘，旦夕棲衡关。纵横千界表，乃在弹指间。笑攀青莲花，归插玉女鬟。奚必策玄踝，役役劳神颜。我语虽大佳，听之了无答。杯酒散城烟，孤帆凌超忽。唯余留别句，掷地金石发。后夜倘见怀，长江弄秋月。余以（亦）止观法门，留仲房不得，仲房翻笑予恋恋庭户，不则谓予坐驰也。翼日倘更为仲房牵引，蹑一屐山水间，不又为仲房大笑也。天弢居士王世贞病中书。\n钤“王元美氏”、“天弢居士”印2方。\n此卷书法闲雅秀丽，古朴清新，运笔凝练，骨力内涵，方圆并济，豪放中见沉着，遒劲中见婉秀。明朱谋垔《书史会要续编》言：“世贞书学虽非当家，而议论翩翩，笔法古雅。”其结字、布局似出自赵孟頫书法，显示了较深厚的传统功力。",[7,24,86,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5250d5f49da55e3a27a14828f97fab.jpg","纵25.8厘米，横135厘米",[328],{"id":64541,"slug":64542,"title":64543,"dynasty":76,"author":26161,"museum":311,"description":64544,"tags":64545,"thumbUrl":64546,"material":2164,"size":2165,"collection":139,"collections":64547,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},240677,"jia-lian-shi-juan-liu-ru-shi-240677","嘉莲诗卷","柳如是（1618年～1664年），本名杨爱，字如是，又称河东君，因读宋朝辛弃疾《贺新郎》中：“我见青山多妩媚，料青山见我应如是”，故自号如是。浙江嘉兴人。与马湘兰、卞玉京、李香君、董小宛、顾横波、寇白门、陈圆圆同称“秦淮八艳”。后嫁有“学贯天人”、“当代文章伯”之称的明朝大才子钱谦益为侧室。明末清初女诗人。",[7,86,25,178,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ddec1fe22944a9f7fb0ef4e23c2227.jpg",[],{"id":64549,"slug":64550,"title":64551,"dynasty":99,"author":64552,"museum":311,"description":64553,"tags":64554,"thumbUrl":64555,"material":699,"size":139,"collection":328,"collections":64556,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},240508,"qi-jia-xing-shi-han-juan-xie-duo-240508","七家行诗翰卷","谢铎","謝鐸（1435年～1510年），字鳴治，號方山，又號方石，浙江温嶺桃溪（今温嶺市大溪鎮兆岙）人。明朝官員、文學家。\n天順八年（1464年）進士，入翰林院為庶吉士，次年授編修。成化三年（1467年），參修《英宗實錄》，成化九年（1473年）校勘《通鑑綱目》，後升侍講。時值邊警，上疏《論西北備邊事宜狀》，指陳邊防弊端，主張整飭邊務。成化十四年（1478年），父喪告假回鄉。弘治初，參修《憲宗實錄》。弘治三年（1490年），升南京國子祭酒。次年辭官回鄉，家居十年，先後有數十人舉薦。明孝宗命吏部遣人員至其家，起用為南京禮部右侍郎兼國子祭酒。七十二歲告老還鄉。謝鐸博通經史，文學造詣極深。卒贈禮部尚書，諡文肅。\n謝鐸博通經史，尤精理學，文學造詣極深。時詩壇盛行台閣體，堆砌辭藻，粉飾太平。謝鐸與李東陽等主張詩歌革新，詩宗杜甫，成為茶陵派代表詩人之一，寫有不少揭露現實、關心民生疾苦詩作。應台州知府陳相之邀，纂修《赤城新志》。著有《伊洛淵源續錄》、《尊鄉錄》、《赤城論諫錄》（與黃孔昭合編）、《桃溪淨稿》等。",[7,939,178,25,86,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf75cf53868c880203f9cca320053528.jpg",[328],{"id":64558,"slug":64559,"title":64560,"dynasty":76,"author":31173,"museum":311,"description":64561,"tags":64562,"thumbUrl":64563,"material":2164,"size":2165,"collection":139,"collections":64564,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},240504,"wang-duo-e-mei-shan-ji-you-shi-juan-wang-duo-240504","王铎峨嵋山记游诗卷","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[7,86,178,2570,25,263,173,734,282,2279,18916,385,403,402,226,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb42eaa858f60f4db13931247b16798.jpg",[],{"id":64566,"slug":64567,"title":64568,"dynasty":76,"author":38378,"museum":20,"description":64569,"tags":64570,"thumbUrl":64571,"material":699,"size":139,"collection":328,"collections":64572,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},240064,"lin-ge-jia-shu-juan-wu-xi-zai-240064","临各家书卷","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”\n吴煕载，原名廷飏，字煕载，后因避穆宗载淳讳更字让之，号晚学居士，江苏仪征人。他长期寓居扬州，以卖书画刻印为生，晚年落魄穷困，栖身寺庙借僧房鬻书，潦倒而终。吴煕载是包世臣的入室弟子。其行草学包世臣，篆隶及篆刻则师法邓石如。尤其是篆刻，不仅自成面目，而且进一步完善了邓派印风，后来学邓派印者，多从吴让之入手。吴煕载以篆书和隶书最为知名。其篆书点画舒展飘逸，结体瘦长疏朗，行笔稳健流畅。古朴虽不及邓石如，而灵动典雅似则过之，颇具妩媚优雅之趣，在晚清书坛享有很高的声誉。对后来的赵之谦、吴昌硕均有影响。",[7,86,178,105,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b7bf85b89a41fe36bf57b554a9fa39.jpg",[328],{"id":64574,"slug":64575,"title":64576,"dynasty":99,"author":15924,"museum":20,"description":23420,"tags":64577,"thumbUrl":64578,"material":139,"size":139,"collection":328,"collections":64579,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},240031,"shu-shi-juan-mo-shi-long-240031","书诗卷",[7,86,178,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75343ed660bed2800471ba4bf595fabc.jpg",[328],{"id":64581,"slug":64582,"title":64583,"dynasty":76,"author":64584,"museum":20,"description":64585,"tags":64586,"thumbUrl":64587,"material":139,"size":139,"collection":328,"collections":64588,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},239980,"cha-si-ji-lin-sheng-jiao-xu-juan-cha-si-ji-239980","查嗣基临圣教序卷","查嗣基","此临作笔势洞精，苍森古逸，卷后有查士标、沈珩题跋。",[7,86,105,178,25,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37149cefa48a657291b99d79c59f9f1a.jpg",[328],{"id":64590,"slug":64591,"title":64592,"dynasty":99,"author":7174,"museum":311,"description":46139,"tags":64593,"thumbUrl":64594,"material":139,"size":139,"collection":328,"collections":64595,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},239906,"mu-dan-fu-juan-zhu-yun-ming-239906","牡丹赋卷",[7,24,86,25,2570,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3614c1bd736af934ea47c0ff771b03.jpg",[328],{"id":64597,"slug":64598,"title":64599,"dynasty":99,"author":64600,"museum":20,"description":64601,"tags":64602,"thumbUrl":64603,"material":699,"size":64604,"collection":328,"collections":64605,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},239745,"shuang-he-rui-wu-fu-juan-wang-fu-zhi-239745","双鹤瑞舞赋卷","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家” ，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[7,209,23,24,25,86,178,2570,699,1115,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[328],{"id":64607,"slug":64608,"title":50984,"dynasty":18,"author":17202,"museum":311,"description":64609,"tags":64610,"thumbUrl":64611,"material":139,"size":139,"collection":139,"collections":64612,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},239662,"zi-shu-shi-juan-lin-bu-239662","这件行书诗卷清劲瘦硬，萧散淡远，恰如其主梅妻鹤子的隐士襟怀。用笔瘦挺而具弹性，提按顿挫间尽显灵动，牵丝映带自然圆融，字势错落顾盼生情。宽绰行距铺展出从容疏朗的章法，褪去尘俗烟火气，满卷皆是林下清风。\n\n诗文与笔墨互为表里，将湖山行吟、赏梅观鹤的幽隐心境藏在每一处笔锋辗转间，把孤高疏淡的隐士意趣融于笔底，是宋尚意书法的绝佳注脚，书文俱佳，尽显宋代文人清雅脱俗的精神底色。",[7,209,23,24,86,25,178,173,263,402,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26372b075a6a47c8f0af2b3403e1bb9e.jpg",[],{"id":64614,"slug":64615,"title":64616,"dynasty":189,"author":645,"museum":206,"description":64617,"tags":64618,"thumbUrl":64620,"material":699,"size":64621,"collection":328,"collections":64622,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},239635,"zhao-yong-shang-zhong-feng-zha-juan-zhao-meng-fu-239635","赵雍上中峰札卷","管道昇心信佛法，是虔诚的佛教徒，拜中峰和尚为师．小札中更尊中峰和尚為“父师”，而自称女弟子：此尺牘无纪年，文中有“年时得以中首座来都”句，可知管道昇时在京都。管氏於至元二十六年（1289)与赵孟頫伉俪儷之合后，又於至大三年（1310）十月随赵孟頫应召离吴兴赴京，很有可能，此尺牘是管夫人赴京不久所书，约五十岁左右。句中“以中”为天目山僧，在天目山出任中峰和尚之首座，常代替中峰和尚外出联络，处理佛门事务，与赵孟頫、管道昇颇多交往。\n此尺牍书风与赵孟頫颇為相近，而运笔结字间时露才女特有的性情。世传管夫人书作“寸縑片纸，人争购之，后学為之模范”",[7,86,178,25,699,2547,64619,263,24774],"书信","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782f49a77fc0d17c04e62e7e00cab13.jpg","31.7×72.9cm",[328],{"id":64624,"slug":64625,"title":64626,"dynasty":99,"author":278,"museum":311,"description":64627,"tags":64628,"thumbUrl":64629,"material":2164,"size":2165,"collection":139,"collections":64630,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},239491,"ji-zhu-luo-han-du-hai-tu-juan-yi-ming-239491","寂住罗汉渡海图卷","以清隽白描铺展长卷，起首古松下众贤聚晤，神态悠然。继而浩渺烟波之中，诸仙或乘异兽、或踏云涛渡海，人物形神各异，或安坐凝神，或驭物踏浪，线条挺秀灵动，将仙逸风骨尽显。苍崖虬松点缀云海之间，云水皴法婉转流动，晕染出沧溟浩渺之态，把渡海的超凡奇谲铺陈开来。整体笔墨空灵雅致，将宗教的庄严与文人意趣相融，笔韵悠长，把群贤渡海的逍遥悠远意境刻画得淋漓尽致。",[7,23,244,25,243,106,18311,282,2279,384,176,3900,2278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08e19ff1f56ccc278fabc7830a42577.jpg",[],{"id":64632,"slug":64633,"title":64634,"dynasty":76,"author":10054,"museum":311,"description":18562,"tags":64635,"thumbUrl":64636,"material":2164,"size":2165,"collection":139,"collections":64637,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},239343,"ci-shu-yan-tu-juan-yu-zhi-ding-239343","赐书砚图卷",[7,23,24,25,27,28,86,178,4421,5153,13069,65,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06466295cda541530e4420d01e3a3796.jpg",[],{"id":64639,"slug":64640,"title":64641,"dynasty":76,"author":64642,"museum":311,"description":64643,"tags":64644,"thumbUrl":64645,"material":139,"size":139,"collection":139,"collections":64646,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},239313,"mo-mei-juan-zhu-zhe-239313","墨梅卷","祝喆","此作以书意入画，枯梅老干如狂草走笔，锋棱毕现，焦墨勾勒枝桠苍劲如铁，淡墨晕染花萼，繁蕊密枝错落纵横，将寒梅凌霜不屈的姿容尽皆铺展。长卷之中题跋与绘事相融，笔墨文心共生，以毫端倾泻胸中丘壑，将文人狷介疏狂的襟怀与冬梅孤高清雅的品格合二为一。不见娇柔妍态，唯有清癯风骨，观之如临冬林雪径，暗香随卷浮动，尽显文人画以画寄情、书画合一的逸趣，满纸皆是林下幽人淡泊孤傲的气度。",[7,23,24,25,173,402,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59a446b3ad367d29ecbb2ffc79e0d64.jpg",[],{"id":64648,"slug":64649,"title":64650,"dynasty":18,"author":278,"museum":311,"description":64651,"tags":64652,"thumbUrl":64653,"material":2164,"size":2165,"collection":139,"collections":64654,"showCount":441,"zanCount":2209,"manualWeight":48,"mainColor":49},238122,"hua-hui-si-duan-tu-juan-yi-ming-238122","花卉四段图卷","四段花木各显风姿：首段梅枝老干虬曲，冷白小花疏落绽于枝梢，清寒疏朗，尽现孤洁傲骨。芙蓉一段柔枝舒展，粉艳花团轻缀其间，碧叶晕染出鲜活肌理，秾丽又带着温柔生机。素花柔枝一则，莹白花朵配温润绿叶，明媚恬淡如春日浅光。末段小花攒聚枝上，粉瓣娇俏灵动，带着融融春意。\n\n全卷以没骨法绘就，纯以色泽晕染成型，清隽柔和的色彩间，将四时花木的各自风骨与舒展柔婉尽数绘出，藏着雅致审美，淡色轻晕里晕开静谧生趣。",[7,209,23,24,25,28,27,83,402,404,1353,264,658,607,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728e825826d5c3185aac75a84ab3440.jpg",[],{"id":64656,"slug":64657,"title":64658,"dynasty":99,"author":817,"museum":20,"description":64659,"tags":64660,"thumbUrl":64661,"material":40,"size":64662,"collection":139,"collections":64663,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":255},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[7,23,24,25,173,27,178,86,29,34,108,109,174,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":64665,"slug":64666,"title":64667,"dynasty":76,"author":16528,"museum":311,"description":64668,"tags":64669,"thumbUrl":64670,"material":139,"size":139,"collection":139,"collections":64671,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},234218,"gu-shan-tan-mei-juan-fei-dan-xu-234218","孤山探梅卷","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[7,23,24,25,173,27,28,178,621,86,29,402,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3be1175cb06f441b1110bd428095b.jpg",[],{"id":64673,"slug":64674,"title":64675,"dynasty":99,"author":817,"museum":20,"description":64676,"tags":64677,"thumbUrl":64678,"material":841,"size":64679,"collection":139,"collections":64680,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},234156,"san-you-tu-wen-zheng-ming-234156","三友图","此手卷画兰、菊、竹三段，各有文氏亲笔题咏。用笔写意，简率之中见生动秀逸之致，墨色清润淡雅，显示了诗、书、画结合的笔墨境界。中国传统文化以拟人化的手法，通过褒扬兰、菊、竹的自然属性而歌颂或表彰文人的道德品质，体现了中国花卉画的特殊功能。\n壬寅为明嘉靖二十一年（1542年），文徵明时年73岁。",[7,23,24,25,173,178,86,2352,400,226,406,407,283,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51a77fcfc66d27d311c294bfae0f646.jpg","纵26.1厘米，横475.5厘米",[],{"id":64682,"slug":64683,"title":20829,"dynasty":99,"author":25360,"museum":20,"description":64684,"tags":64685,"thumbUrl":64686,"material":841,"size":139,"collection":139,"collections":64687,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[7,23,25,173,29,177,30,37,34,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":64689,"slug":64690,"title":64691,"dynasty":99,"author":55715,"museum":20,"description":64692,"tags":64693,"thumbUrl":64694,"material":699,"size":139,"collection":139,"collections":64695,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},234125,"gu-mu-ming-jiu-tu-juan-yao-shou-234125","古木鸣鸠图卷","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[7,23,24,25,173,178,86,263,83,5174,266,4272,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93404907185c0eca0bfabab4c0d12d59.jpg",[],{"id":64697,"slug":64698,"title":64699,"dynasty":76,"author":64700,"museum":311,"description":64701,"tags":64702,"thumbUrl":64703,"material":139,"size":139,"collection":139,"collections":64704,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},232894,"chu-ji-tu-li-zhou-guan-zhen-tai-232894","雏鸡图立轴","管镇泰","此画构图简练，为雏鸡,体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。",[7,23,173,225,400,11927,314,282,1628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c2e9efaf71e2689a3a532d8d172ad8.jpg",[],{"id":64706,"slug":64707,"title":64708,"dynasty":18,"author":2389,"museum":311,"description":64709,"tags":64710,"thumbUrl":64711,"material":139,"size":139,"collection":139,"collections":64712,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},232779,"song-ren-chi-du-zhao-meng-jian-232779","宋人尺牍","宋宗室，太祖十一世孙。字子固，号兰坡，又号彝斋居士，，浙江湖州人。家境清寒，理宗宝庆二年（1226）中进士，官至朝散大夫严州守。工诗善书，擅水墨白描水仙、梅、兰、竹石，有梅谱传世。笔迹劲利，风格清高。 赵孟坚也是南宋最出名的书画收藏家，他嗜好收藏书画古物，常用一只船载着书画文物及纸笔墨砚等，东游西适，评赏书画古玩，吟诗作画。当时人称其舟为“赵子固书画船”。史载其“多藏三代以来金石名迹，遇其会意时，虽倾囊易之而不靳也”。 据说他曾得书法珍品五字不损本兰亭，归家时，风作舟覆，其“被湿衣立浅水中，手持褉帖示人曰：‘兰亭在此，余不足惜也。’因题八字于卷首云：‘性命可轻，至宝是保。’”其酷嗜收藏到了几乎疯狂的地步。宋人周密赞曰：“噫，近世求好事博雅如子固者，岂可得哉。”（周密《齐东野语》卷19）。\n另据载赵孟坚入元以后，不乐仕进，隐居州之广陈镇（今海盐县）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”（《宋人轶事汇编》下册 中华书局出版，丁传靖辑）由是可见其品格甚高。诗文有《彝斋文编》。",[7,1004,86,178,263,699,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff250bf479213aa0b8c8ba870249d7514.jpg",[],{"id":64714,"slug":64715,"title":64716,"dynasty":76,"author":18846,"museum":311,"description":55804,"tags":64717,"thumbUrl":64718,"material":699,"size":139,"collection":139,"collections":64719,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},232679,"yuan-mei-hong-yi-fa-shi-232679","袁枚",[7,76,24,86,178,8289,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b416ea713fbd6f58899364bfd1dd18b.jpg",[],{"id":64721,"slug":64722,"title":64723,"dynasty":76,"author":64724,"museum":1279,"description":64725,"tags":64726,"thumbUrl":64727,"material":527,"size":64728,"collection":139,"collections":64729,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},232672,"song-xia-zhu-geng-tu-tuan-shi-gen-232672","松下煮羹图","团时根","团时根［清］江苏泰州人。工写意人物，曾随某将军赴西藏，尝画一册，纯有干笔写旁塞光景山城夜角，羽檄飞骑，各肖其态。",[7,23,24,173,27,106,866,1365,228,400,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d3511a98ddf0bee86499ffdd938cb5.jpg","174cmx104cm",[],{"id":64731,"slug":64732,"title":64733,"dynasty":76,"author":1563,"museum":311,"description":64734,"tags":64735,"thumbUrl":64736,"material":699,"size":64737,"collection":139,"collections":64738,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},231937,"xie-jin-ren-shi-yi-hua-ce-14-zhen-hua-yan-231937","写晋人诗意画册14帧","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[7,23,24,81,27,173,106,229,226,384,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30afb35e63e0280c3daa8a0cb5eff010.jpg","43x52cm",[],{"id":64740,"slug":64741,"title":64742,"dynasty":277,"author":45062,"museum":311,"description":45063,"tags":64743,"thumbUrl":64749,"material":2164,"size":2165,"collection":139,"collections":64750,"showCount":441,"zanCount":2209,"manualWeight":48,"mainColor":49},231725,"jiang-hu-shi-dai-ge-wu-ji-ping-feng-tu-di-yi-ping-ling-chuan-shi-xuan-231725","江户时代 歌舞伎屏风图 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guan-228345","蕉林易趣图","此作以蕉林铺就幽凉底色，阔叶舒展扶苏，浓荫笼住一隅清境。近处方石上，高士坦卧枕臂静观书卷，旁侧茶盏轻置，将卧读忘忧的闲逸缓缓铺陈。右侧柴扉半掩，篱墙隐现，衬出幽居的静穆私密。远景山峦以淡墨晕染，朦胧悠远，与近景繁密蕉叶形成虚实对照，拉开疏密错落的空间层次。笔墨苍秀温润，线条清劲兼具柔润，点染间尽显园林小景的雅逸，将寄情林泉、耽于闲逸的心境融于尺幅之间，隐逸意趣悠长内敛。",[7,23,225,173,177,29,32363,34,770,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad90adfea8e7ab7fd9c6c9596f3a350.jpg",[],{"id":64877,"slug":64878,"title":64879,"dynasty":99,"author":16327,"museum":311,"description":57661,"tags":64880,"thumbUrl":64881,"material":2164,"size":2165,"collection":139,"collections":64882,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},228341,"ya-yi-shan-ren-shi-han-wang-chong-228341","雅宜山人诗翰",[7,24,86,178,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7785461ab08e2c5afbbba31ed4f636.jpg",[],{"id":64884,"slug":64885,"title":64886,"dynasty":99,"author":55580,"museum":311,"description":64887,"tags":64888,"thumbUrl":64889,"material":139,"size":139,"collection":139,"collections":64890,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[7,23,24,225,173,177,29,106,150,107,174,865,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],{"id":64892,"slug":64893,"title":64894,"dynasty":189,"author":20059,"museum":311,"description":64895,"tags":64896,"thumbUrl":64897,"material":139,"size":139,"collection":139,"collections":64898,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[7,23,24,25,244,173,27,106,29,34,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":64900,"slug":64901,"title":52801,"dynasty":189,"author":278,"museum":311,"description":64902,"tags":64903,"thumbUrl":64904,"material":139,"size":139,"collection":139,"collections":64905,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":255},228228,"xing-lv-tu-ye-yi-ming-228228","此作用笔简淡苍润，以水墨晕染出江南水岸的清寂之境。左畔危崖耸峙，古松斜出探向江面，崖腰古亭半掩，山道上旅人缓步徐行，衬出林泉丘壑的悠远空阔。汀洲上虬松错落，枝干古拙有姿，与崖岸松色遥相呼应。江面淡墨轻描，远帆与渔舟错落波上，寥寥笔意铺展水天空濛。\n\n整幅简而不空，淡而有味，以极简笔墨勾勒出山水行旅的幽闲意趣，尽显萧散淡远的文人意韵，将林泉高致与江湖野趣融于尺幅间，藏着幽寂闲淡的山水真味。",[7,23,173,29,177,81,106,107,174,266,176,109,263,467,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46616df25f9b51e1b52cfac683349316.jpg",[],{"id":64907,"slug":64908,"title":64909,"dynasty":189,"author":278,"museum":311,"description":64910,"tags":64911,"thumbUrl":64912,"material":139,"size":139,"collection":139,"collections":64913,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[7,23,173,177,225,24,209,29,770,384,108,109,2279,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":64915,"slug":64916,"title":64917,"dynasty":189,"author":278,"museum":311,"description":64918,"tags":64919,"thumbUrl":64920,"material":139,"size":139,"collection":139,"collections":64921,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},228186,"ren-wu-tu-juan-yi-ming-228186","人物图卷","此作用色古雅沉朴，线条圆劲清隽，以日常梳洗闲憩入画，将文人闲居意趣尽显。画面左侧侍者躬身展巾，主家赤足踞坐，正倾水盥手，神态松弛自适，把松弛慵懒的日常情态刻画入微。右侧两位侍从或持巾侍立、或捧具待命，人物排布错落有致，动静相宜。\n\n整作不着过多布景，以素净留白衬托前景人物，衣褶晕染贴合躯体动态，尽显以形写神的笔墨妙处。没有繁复刻画，却凭借细腻的生活化描摹，传递出古雅悠然的闲居氛围，是一幅兼具烟火意趣与古典气韵的人物画佳作。",[7,209,23,24,25,28,27,106,63,228,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5381a994fb57f53b3c691b27916e64eb.jpg",[],{"id":64923,"slug":64924,"title":64925,"dynasty":189,"author":278,"museum":311,"description":64926,"tags":64927,"thumbUrl":64928,"material":139,"size":139,"collection":139,"collections":64929,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},228085,"jin-que-xuan-yuan-tai-shang-lao-jun-ba-shi-yi-hua-tu-juan-yi-ming-228085","金阙玄元太上老君八十一化图卷","这是一幅图文合璧的经卷长幅，开篇版画场面宏阔，帝尊环于仪仗之中，人物排布错落有致，殿宇规制、衣袂褶皱皆刻画入微，尽显刊刻版画的精湛水准，将崇道仪典的庄重威严尽数铺展。\n\n后半段以端稳方正的楷书镌录御序经文，笔力劲挺舒展，排布齐整肃穆，将崇道之心融于刀笔之间。图文呼应，让宗教肃穆与世俗礼制浑然相融，是释道文化与皇权威仪结合的典型载体，尽显刻绘工艺的深厚造诣与时代奉道风尚。",[7,25,244,243,106,107,29,86,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e5c89f7636ca90a970e9abed49bb16.jpg",[],{"id":64931,"slug":64932,"title":64933,"dynasty":18,"author":1000,"museum":311,"description":64934,"tags":64935,"thumbUrl":64936,"material":139,"size":139,"collection":139,"collections":64937,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},227971,"fang-mu-tu-ye-li-chun-227971","放牧图页","虬曲老树枝叶扶苏，浓荫之下牧童闲坐，垂首专注把玩手边小物，全然沉浸在郊野的松弛意趣之中。浅滩溪岸，老牛垂首缓步涉水，皮毛厚重写实、肌理鲜活细腻，憨态小牛亦步亦趋紧随其后，灵动稚态尽显。\n\n整幅小品疏密得宜，设色浅淡柔和，以精妙工笔描摹物象形神，将乡野放牧的日常闲景铺陈得鲜活动人，既以细致笔触还原郊野生灵的自然情态，又晕染出田园牧歌式的悠然氛围，把乡野间的闲散温情凝于尺幅间，于平淡日常中尽显雅致隽永的宋画意韵。",[7,209,23,27,28,4850,151,106,384,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f18c16b1455c2e6e91367d1f9459.jpg",[],{"id":64939,"slug":64940,"title":64941,"dynasty":18,"author":278,"museum":311,"description":64942,"tags":64943,"thumbUrl":64944,"material":139,"size":139,"collection":139,"collections":64945,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[7,23,209,1352,28,173,27,865,266,924,11890,229,27827,7803,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":64947,"slug":64948,"title":64949,"dynasty":18,"author":278,"museum":311,"description":64950,"tags":64951,"thumbUrl":64953,"material":139,"size":139,"collection":139,"collections":64954,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},227909,"zhu-lin-bo-ruan-tu-ye-yi-ming-227909","竹林拨阮图页","《古代佚名画鉴赏大系·人物篇》是2年西苑出版社出版的图书，作者是杨宪金。\n佚名画与署名的作品，从绘画艺术上讲，是没有两样的。\n但在传世过程中，却有着不同的遭遇，历代收藏家与画史主要关注有名的作品，尤其是大家的作品，而对佚名画往往不屑一顾。\n因此，在这种境遇下，大量的古代佚名画在流传过程中消失了。\n这种情况一直延续到了明代，才逐渐引起收藏家们的注意，大收藏家项子京就对佚名画的著录、流传做了很大的贡献…… 春庭行乐图 眼药酸图 人物故事图 寒林策蹇图 竹林拨阮图 蚕织图 蚕织图 蚕织图 蚕织图 女孝经图 女孝经图 女孝经图 女孝经图 千秋绝艳图 千秋绝艳图 牧马图 望贤迎驾图 蕉石戏婴图 蕉荫击球图 槐荫击球图 杂剧图 雍正妃行乐图之二 雍正妃行乐图之六 溪堂客话图",[7,209,23,24,1352,28,27,106,1269,210,34,21743,9791,22348,14251,64952],"古典技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c0aeb9c6b9df7aa3c1f6768dc7d653.jpg",[],{"id":64956,"slug":64957,"title":64958,"dynasty":18,"author":278,"museum":311,"description":64959,"tags":64960,"thumbUrl":64964,"material":139,"size":139,"collection":139,"collections":64965,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},227886,"shui-cun-yan-ai-tu-yi-ming-227886","水村烟霭图","这幅小品以淡墨晕染出烟霭笼罩的水村晨色，浅赭铺陈的远山隐在氤氲雾气里，和浩渺水面晕融成一片空濛。近岸松林错落，茅舍悄然栖于林下，仿佛还浸在拂晓的湿意中。\n\n画家以极简的笔触轻皴淡染，留白处皆是流动的水雾，将江南水乡的清寂温柔晕开。没有繁复勾勒，只借墨色浓淡铺就幽远意境，似将水村清晨的恬然凝在绢素之上，仿佛能闻见湿润的水汽，静听水波轻漾，尽显山水简淡清远的意趣，将人拉入这安谧空阔的悠然之中。",[7,209,23,1352,173,27,29,5633,23019,34007,64961,20284,64962,64963,177],"水雾","安谧","清远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b44eb01cfd8f0d4d2d18c15bf08eed.jpg",[],{"id":64967,"slug":64968,"title":14490,"dynasty":18,"author":278,"museum":311,"description":64969,"tags":64970,"thumbUrl":64971,"material":139,"size":139,"collection":139,"collections":64972,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},227853,"shan-shui-ren-wu-tu-yi-ming-227853","此作为典型的宋人山水小品，以圆框取景，将江南烟岚山居收于尺幅间。远景山峦以淡墨轻晕，隐没在濛濛雾气之中，虚实相生间晕染出空濛悠远的暮色秋意。近景林木苍郁，墨色干湿互用，枝叶攒簇尽显山野生机，几椽村舍错落藏于树荫之下，石阶板桥隐约勾连，似有山民往来其中，暗合着幽居林泉的隐逸意趣。\n\n整幅画作以简淡笔墨写尽江南乡野的静谧闲雅，无繁复刻画，却将烟雨空蒙的氛围感烘托至极，带着宋画独有的平淡天真，引人踏入这方避世山乡，静享林泉间松弛的意韵。",[7,23,24,1352,27,29,106,34,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05371d2fa860c6b3af216ce13990958.jpg",[],{"id":64974,"slug":64975,"title":48347,"dynasty":18,"author":48348,"museum":311,"description":64976,"tags":64977,"thumbUrl":64978,"material":139,"size":139,"collection":139,"collections":64979,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},227808,"cao-tang-ke-hua-tu-he-quan-227808","此作以淡墨晕染山石林木，晕开江南山野湿润清寂的氛围。临水草堂轩窗通透，堂内陈设隐约可见，屋外二人缓步闲话，将幽居雅会的闲淡意趣铺展开来。笔墨苍秀简逸，屋舍界画工致灵动，林木点染生机自现，以尺幅之境铺陈林泉高致的隐逸情怀，尽显宋人小品山水以小见大的妙处，将士人幽栖林下、寄情丘壑的心境藏于皴染点画之中，淡而有味，雅意悠长。",[7,23,24,1352,27,29,107,108,109,106,175,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9398f267cba5d2aa93e5525aecdb351.jpg",[],{"id":64981,"slug":64982,"title":64983,"dynasty":18,"author":64984,"museum":311,"description":64985,"tags":64986,"thumbUrl":64987,"material":139,"size":139,"collection":139,"collections":64988,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},227745,"zi-zan-xiang-li-zhou-da-hui-zong-gao-227745","自赞像立轴","大慧宗杲","大慧宗杲为北宋末年、南宋初期杨岐派禅师，杨岐派在他的手上被推至最高峰，宋孝宗御赐他为“大慧禅师”。他的禅法，对后世禅宗形成深远的影响，南宋理学也深受影响。此幅《大慧宗杲自赞像》作为现存最早的有像主自赞的画禅僧肖像画，非常珍贵，有其不可替代的历史价值、文物价值，再加上其简洁的描写手法，充分地体现了北宋末、南宋初期中国肖像画的高度的绘画水准，更增加了它的艺术价值。",[7,23,24,225,28,27,106,243,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36822032e4aee0c344f543503e164d0.jpg",[],{"id":64990,"slug":64991,"title":64992,"dynasty":18,"author":278,"museum":311,"description":64993,"tags":64994,"thumbUrl":64995,"material":139,"size":139,"collection":42,"collections":64996,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},227570,"yu-lou-chun-si-tu-yi-ming-227570","玉楼春思图","此图画水殿楼阁、渔舟、古松和江亭，本幅无名款，清代梁清标题签为王诜之作，然而将此作与王氏传世作品对照，并无多少相同之处。\n\n惟据图上小楷书“鱼游春水”一阕，词意与画意吻合，从书法风格考察，可能为宋高宗赵构以后宫廷常见的书体，故推测此画系同时代所绘，是宋代画院的佳作。画上钤有“宣统御览之宝”等收藏印章。\n\n是图为团扇，构图为左右相对形式。中为辽阔的江面，左部近景作水殿楼阁回廊萦绕，堤上柳荫浓郁，一仕女面江扶栏遐思。隔江云山起伏，意境深远。\n画上题《鱼游春水》词，词意与画意相吻合。\n\n此作曾为清初梁清标收入《唐宋元集绘册》中，梁氏鉴定为王诜作品。就画作的构图与画法来看与王氏画风是有距离的，南宋风格明显。\n\n另外《鱼游春水》一词原是刻于绍兴古碑碑阴之上的佚名词作，北宋政和时为宫人抄入宫中填曲传唱，政和中期以后才流入到民间。死于元祐四年（公元1089年）的王诜不可能以此题作画。故而梁清标的鉴定有误，书与画应属南宋画院的书画佳作。清《石渠宝笈重编》著录。",[7,209,23,24,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dcbc748bfb2945570382841dfc1ac9.jpg",[42],{"id":64998,"slug":64999,"title":65000,"dynasty":18,"author":278,"museum":311,"description":65001,"tags":65002,"thumbUrl":65003,"material":139,"size":139,"collection":139,"collections":65004,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},227538,"wu-gong-ma-tu-juan-yi-ming-227538","五贡马图卷","北宋，佚名（李公麟款)。画内为宋元佑初年天驷监中的五匹西域名马，五匹名马依次为“风头骢”、“锦膊骢”、“好头赤”、“照夜白”、“满川花”。",[7,209,23,24,25,244,27,150,106,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da9fadedef4d3ff60e1157eaee1c333.jpg",[],{"id":65006,"slug":65007,"title":47115,"dynasty":18,"author":278,"museum":311,"description":51389,"tags":65008,"thumbUrl":65009,"material":139,"size":139,"collection":139,"collections":65010,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},227389,"fang-you-tu-yi-ming-227389",[7,209,23,27,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5460182c56e0ad4a53915b2fa7a0b7.jpg",[],{"id":65012,"slug":65013,"title":65014,"dynasty":54,"author":278,"museum":311,"description":65015,"tags":65016,"thumbUrl":65018,"material":2164,"size":2165,"collection":139,"collections":65019,"showCount":441,"zanCount":2209,"manualWeight":48,"mainColor":629},227239,"miao-fa-lian-jing-juan-quan-juan-di-san-bai-yi-shi-liu-shou-juan-yi-ming-227239","妙法莲经卷全卷第三百一十六手卷","唐代楷书经书",[7,86,5152,25,243,621,65017,5153],"金书","https:\u002F\u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附近树木高大翠绿，溪水汇成池，凸显奇石怪状，顺着扶手爬上楼梯，几座临水亭映入眼帘。亭中一人坐在窗前， 写了一部漫画。 此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[7,23,173,177,225,29,2019,466,1087,34,176,109,106,468,1776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],{"id":65127,"slug":65128,"title":65129,"dynasty":18,"author":278,"museum":20,"description":65130,"tags":65131,"thumbUrl":65132,"material":67,"size":65133,"collection":139,"collections":65134,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},223512,"liu-yin-qun-mang-tu-yi-ming-223512","柳荫群盲图","此幅为年俗画，描绘盲人打架的场面。画中柳树下，三三两两的盲人抓在一起，抱团打架，抓衣服不放的，抱胳膊死拽的，揪着耳朵拼命的，打架招势表现的淋漓尽致；人物面部扭曲变形，姿势夸张，展示出打架过程中拼命的样子。",[7,23,27,28,2042,106,2607,3157,35220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed64abbdddd46112eb2761d5b97d634f.jpg","78.5×82cm",[],{"id":65136,"slug":65137,"title":65138,"dynasty":76,"author":278,"museum":311,"description":65139,"tags":65140,"thumbUrl":65153,"material":139,"size":139,"collection":139,"collections":65154,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},223489,"ming-shi-san-ling-tu-yi-ming-223489","明十三陵图","《明十三陵手绘图(珍藏版)》中的明十三陵位于北京市昌平区，是明朝13位皇帝的陵墓群，并葬有23个皇后和1个贵妃。它是中国现存规模最大、帝后陵寝最多的皇陵建筑群。明十三陵于永乐七年（1409年）开始营建，至崇祯十七年（1644年）明朝灭亡建成。陵区三面环山，中间是盆地，南接北京平原，入口左右有两座山——龙山和卧虎山。十三座陵墓分布在东、北、西三面，各以一座山峰为背景，规模大小不一，形制却基本相同，主要建筑依次为陵门、棱恩门、裬恩殿、棂星门、石五供、明楼和宝城。宝城下面为地下宫殿。2003年，联合国教科文组织世界遗产委员会将明十三陵和南京明孝陵列入《世界遗产名录》，作为“明、清皇家陵寝”的附属项目。",[7,23,25,28,27,104,29,107,65141,34,65142,65143,65144,176,119,65145,24764,1087,65146,65147,65148,557,38,65149,65150,65151,65152],"陵墓","石碑","牌坊","宫殿建筑","拱桥","神道","石象生","门楼","古建筑群","石牌坊","殿堂","碑亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123aa13e4f3c2f815d482dd3e89104ba.jpg",[],{"id":65156,"slug":65157,"title":65158,"dynasty":18,"author":278,"museum":20,"description":65159,"tags":65160,"thumbUrl":65161,"material":40,"size":9473,"collection":139,"collections":65162,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},223419,"kong-men-di-zi-xiang-juan-yi-ming-223419","孔门弟子像卷","此画是唐代杰出画家阎立本最大最长最佳的一幅巨作，是画家传世的六件作品之一，后在近代被日本军火商买走，并被列为国宝。最后在中贸圣佳拍卖公司购得，迎回国内，曾经引起过轰动。此画最终被首都博物馆以超低价提前收购。\n《孔子弟子像》全图采取平列式构图，无背景，绘孔子弟子立像五十九人，无名款。墨笔勾勒，着色，人物形象各异，须眉生动。\n包首题签“阎立本画孔子弟子像”，引首乾隆御题“杏坛遗范”，卷上有“顺治三年(1646)七月初二钦赐大学士臣宋权恭记”长方印、清宫收藏鉴赏印玺和清高宗弘历御笔题字。后幅有乾隆二十二年(1757年)户部尚书蒋溥题跋、乾隆丁未(1787年)大臣王杰、曹文埴、彭元瑞、董诰共同审定，董诰书写的题跋。鉴藏宝玺有乾隆八玺等，收藏印有“顺治三年七月初二日钦赐大学士臣宋权恭记”、“商丘金石书画印”、“宋权私印”、“经公”等。卷后拖尾有蒋溥题跋、董诰书写的其与王杰、曹文埴、彭元瑞的合跋，文字内容、钤盖印章与《石渠宝笈续编》著录文字完全相同。\n考证画后跋语，可以大致勾勒出《孔子弟子像》在清代的流传过程。清初顺治皇帝将此件画作钦赐给大学士宋权，一百余年后乾隆时期，宋氏后人将此作转鬻他所，蒋溥购得后，将其进献给了乾隆皇帝，复归内府收藏，并于《石渠宝笈续编》中加以著录。 至于这件作品是如何从清内府流传出去，溥仪在《我的前半生》中回忆，宣统八年十一月十四日，将名为《阎立本画孔子弟子像一卷》赏给了自己的师傅梁鼎芬。",[7,209,23,24,25,27,28,106,63,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34aaeae7bdfbdd0d6197e46cf919b0e.jpg",[],{"id":65164,"slug":65165,"title":14598,"dynasty":76,"author":278,"museum":311,"description":65166,"tags":65167,"thumbUrl":65168,"material":173,"size":65169,"collection":139,"collections":65170,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},223417,"ying-xi-tu-yi-ming-223417","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[7,23,24,173,106,9044,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a1bf3e927f98f47d7ccc65ef6a0cb2.jpg","11×21cm",[],{"id":65172,"slug":65173,"title":65174,"dynasty":76,"author":278,"museum":206,"description":31698,"tags":65175,"thumbUrl":65178,"material":139,"size":139,"collection":139,"collections":65179,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},223411,"ma-zu-qi-ji-b-yi-ming-223411","妈祖奇迹B",[7,209,23,27,106,107,243,65176,65177,104],"妈祖","救难","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df40c01e106f6e5b85e46f2f301cd13.jpg",[],{"id":65181,"slug":65182,"title":65183,"dynasty":99,"author":278,"museum":311,"description":65184,"tags":65185,"thumbUrl":65186,"material":699,"size":65187,"collection":139,"collections":65188,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[7,23,24,25,173,178,29,108,109,174,175,34,966,1231,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],{"id":65190,"slug":65191,"title":65192,"dynasty":54,"author":16652,"museum":311,"description":16653,"tags":65193,"thumbUrl":65195,"material":699,"size":2164,"collection":139,"collections":65196,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},223387,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-3-bai-ju-yi-223387","古抄残卷《白氏文集》第三巻第四3",[7,86,178,5153,25,65194,10270,2547,699],"手抄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfae861faca812473d745bd85ae7ef52.jpg",[],{"id":65198,"slug":65199,"title":65200,"dynasty":18,"author":278,"museum":20,"description":65201,"tags":65202,"thumbUrl":65203,"material":573,"size":65204,"collection":139,"collections":65205,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":49},223370,"ba-xiang-tu-yi-ming-223370","八相图","这幅《八相图》并未出现于古代书画文献著录中，在其他文集中也不曾记载。民国时期故宫博物院珂罗版《故宫书画集》中亦无收录。二十世纪六十年代，文化部文物局成立中国古代书画鉴定组对全国各大博物馆藏画进行鉴定、编录，其成果《中国古代书画图目》中影印了此幅《八相图》，并在卷末附有基本信息。二十一世纪初编纂的《故宫博物院藏文物珍品大系》中有余辉主编的《晋唐两宋绘画·人物风俗》，其中再次收录了此卷，并附有相关介绍信息，释读出题跋，在此基础上辨别出八位名相，并对画作的特点作了简单概括。近年浙江大学、浙江文物局承担编纂的《宋画全集》再次收录了该幅作品的高清图版，并附有图版说明，但基本为《晋唐两宋绘画·人物风俗》中的内容。\n该幅作品所描绘的“八相”，《晋唐两宋绘画·人物风俗》中识读为周公旦、张良、魏徵、狄仁杰、郭子仪、韩琦、司马光和周必大。学界对此并未提出疑义，笔者先前也基本认定该作所画为此八相。许浩然《一幅南宋绍兴年间的秦桧画像—故宫博物院藏〈八相图卷〉考辨》一文，首次提出了第八位名相为秦桧的观点，并作了相关考辨。\n对这样一幅名款残损、图章全无、又乏古代文献著录的作品，目前仅有基本识读和一篇研究性论文。而该作还有许多疑问尚未解决，如画作名称、画作的作者、创作年代等。本文不揣冒昧，对这几个问题以初步考证。\n虽然《晋唐两宋绘画·人物风俗》已经有对画作题跋的释读，但个别识读有错误，对八相的识别也并未给以推导过程。故本文重新抄录，加以句读，再作分析。现将画作中文字内容从右至左分为十个部分，依次标注为一至十。\n第一部分文字不可辨识。画作自右向左打开，画心部分起首四字由上而下书写。前两字残损超过三分之二，后两字虽存右半部分，但与左边之间有重新装补的痕迹，虽然裂痕形状勉强和左边吻合，但不可辨识，汉字中并无此二字。与周边对照，右半部分绢片明显为他处所有。推测或是画商牟利，将他处残片置于此处;亦或为当时重新装裱的失误。\n第二部分文字内容为：“文王之子，武王之弟;下视成王，叔父之贵;师表万民，吐握待士;思兼三王，经制毕备;群叔汹汹，流言纷至;天威彰显，闻望无愧;盛德元勋，下蟠上际;式图丹青，昭□(示?)□(后)□(世);若揭日月，诏彼稚昧。”\n文字描述的主人公是 “文王之子、武王之弟、成王之叔”，为西周时期的周公旦，记录他握发吐哺求贤若渴、创立典章制度、摄政并平定叛乱、威德远布四方人的事迹。绘此画作的目的是向四方昭示他的德行并起到示范作用。该部分内容第四行的最后三字处有残缺。经查找，其残损部分仍保留在画作上，只是被错误地装补到了第一部分文字处。\n第三部分文字内容为：“巨飚扇海洪波翻，指鹿为马无腆颜;泗上亭长起应天，子房杖策来自韩;圯上老人书一编，佐汉兴王无后艰;客有为□(我)□(橈)楚权，请借前箸输忠谈;南宫偶语事寝阑，即日劝驾西都关;羽翼已成储嗣安，愿与赤松求神仙;高名万世长铿鍧，再拜清风何所言;望之俨然即之温，奇伟魁梧焉足论。”\n根据史书记载，可知本部分文字描述称赞的主人公是汉留候张良。写秦朝末年张良来自韩国，借助圯上老人黄石公所赠《太公兵法》，辅佐刘邦起事。这里选取了他的几个事迹：反驳郦食其的策略、建议奖赏有功之臣、劝服刘邦移驾长安、帮助吕后和太子孝惠巩固地位、功成名就后隐退等。赞扬他的万世高名，虽为妇人之貌，却远胜奇伟魁梧的大丈夫。本部分文字第三行倒数二、三字有残损，但是根据史书记载可补足，模糊二字分别是“我”“橈(桡)”。\n第四部分文字内容为：“自期稷卨，致君尧舜;愿为良臣，展尽底蕴;正观之治，几于成康;外户不闭，行不赍粮;想其堂堂鹗立，犯颜进谏;虽逢帝怒，神色不变;信乎百世之下，论世尚友;雄姿凛凛，传于不朽。”\n这部分文字称颂的是贞观时期的名臣魏徵。谈及魏徵如稷卨这样的名臣，“贞观之治”堪比“成康之治”，记录在魏徵治理之下有夜不闭户而远行时又不必携带粮食的淳朴世风，以及他堂堂正正犯颜进谏的诤臣风范，这些皆传于不朽。\n第五部分文字内容为：“宇宙雰雺兮孰与清，日月薄蚀兮孰与明，清而明之兮，命世之英;大厦将欹兮，其谁支;神器将坠兮，又谁举之;支而举之兮，命世之奇英;与奇兮惟梁公，为子孝兮为臣忠;北斗以南兮，人谁与同;取日虞渊兮，洗光咸池;授五龙兮，夹以飞蒙;耻济谋兮，功盖一时;貌图丹绘兮，如玉如金;风度温然兮，贻后人;十袭之藏兮，爰丕显于斯辰。”\n翻检史书，我们会发现这里面描述的国之栋梁、忠臣孝子、忍辱负重规劝武则天将庐陵王李显立为太子使政权又回到唐代宗室手中的一代英豪是“梁公”狄仁杰，描绘梁国公之画像，目的是将他的风采传递后人，这样的图载值得珍藏。\n第六部分文字内容为：“唐德中否，群兇肆起;尚父鹰扬，于彼朔方;克复两京，三河肃清;整我六师，大振威灵;单骑见虏，压以至诚;忠贯日月，德通神明;二十四考，中书政成;式图貌像，仰止仪形;英姿粹蕴，凛凛如冰;维昔方虎，中兴周室;诗人歌之，二雅纪德;再造唐祚，汾阳允武;用垂颂声，以绍厥绪。”\n被封为朔方节度使收复长安、洛阳两京，平定河东、河西、河南叛军，单骑免胄见回纥，为中书令期间主持官吏的考绩二十四次而被尊为“尚父”的是唐朝的郭子仪。绘画者希望能够像当年纪念中兴周朝的方叔、召虎一样，给郭子仪“式图貌相”，让后人赞颂他，并完成他未竟的事业。\n这一部分的文字残缺甚多，根据内容判断所描绘的主人公颇有难度。而判断这段文字所描述的主人公，主要是依照第十部分的文字内容。通过排除法，可得知这段文字所颂赞的是韩琦。史书记载，韩琦任官期间敢于诤言谠议;严肃的外貌却给人温和的感觉，如玉如水;家中藏书颇丰，所写文章品格不凡。\n第八部分文字内容为：“于皇上帝，降祚炎宋;爰锡真儒，郁为时楝;真儒伊河，时维司马;如柱如石，克建大厦;退居西洛，十有五年;著书立言，成名自天;既相君实，欢声洋溢;农安于田，妇安于室;复我良法，式循祖宗;进良退奸，坐致融融;四方仰止，图像克肖;饮食必祝，家至户到;食采温国，著名凌烟;元勋巨德，英图莫传。”\n这一赞文描述的是北宋司马光。北宋时期的良才为伊河之地的司马光，进为栋梁之才，退则著书立说，再次拜相时又一次辅佐君王造就了繁荣安定的景象。因此，理应为司马光传图写照，受到后人尊重。\n第九部分文字内容为：“太师公相画像赞。天之苍苍，其命灼然;将兴太平，必生真贤。堂堂益公，起江之东;受天间气，出建大功;节义凛然，归秉国均;建万世策，交欢宝邻;长乐正位，清朝偃共;四时协和，万邦咸宁;道大不器，德全难名;高勋巍巍，日月并明;皇帝神圣，师臣赞襄;多历年所，相得益章;图形凌烟，褒赞有光;其永相予，雍容庙堂;风采德威，外传四方;真汉相矣，岂惟王啇;南山之高，岩岩其石;民怀姬公，师保之德;千载具瞻，与山无极。”\n根据文字内容，这描述的是太师公相画像，他被封为益国公，其功勋可比日月，且与皇帝交往融洽，品德风采足可与山川一样长久影响后人。先前识读者根据文字内容的第一行“太师公相画像赞”及第三行“堂堂益公”确定此主人公是同为益国公、太师的周必大。在许浩然的文章中，他提出此主人公是秦桧而非周必大的四点理由：第一，“起江之东”与周必大原出河南郑州管城的籍贯不符;第二，周必大卒后赠太师，而非“太师公相”;第三，在宋代身任宰相、官太师、封益国公，同时又为江东之人者仅有秦桧;第四，“节义凛然，归秉国均;建万世策，交欢宝邻”是言其被俘金国，后回南宋担任宰相并主张议和等经历。\n基本来说，许浩然之文考辨的是有道理的，只是第一点中提到的“起江之东”，也与周必大有关系，周必大出生于江东长洲(今苏州)。学者们之所以会混淆周必大与秦桧，是因二者信息比较接近，在相貌上又无确切描绘。故宫博物院南熏殿旧藏周必大像与该画作中的秦桧像或可作一对比，周必大面相仁厚，秦桧似显城府。",[7,209,23,24,25,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42577c6a1c131396fab8d2cb999a6c.jpg","纵36.5厘米，横246.2厘米",[],{"id":65207,"slug":65208,"title":65209,"dynasty":76,"author":12204,"museum":7116,"description":54631,"tags":65210,"thumbUrl":65211,"material":841,"size":54634,"collection":139,"collections":65212,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},223319,"fa-jie-yuan-liu-tu-jing-pian-2-ding-guan-peng-223319","法界源流图镜片-2",[7,23,209,24,25,27,28,243,8567,106,9561,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5310045c3d9528f01b0ec6d6d1291e6.jpg",[],{"id":65214,"slug":65215,"title":65216,"dynasty":76,"author":12204,"museum":7116,"description":56324,"tags":65217,"thumbUrl":65219,"material":841,"size":56327,"collection":139,"collections":65220,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},223308,"fa-jie-yuan-liu-tu-juan-2-ding-guan-peng-223308","法界源流图卷-2",[7,23,24,25,28,27,243,106,433,245,3861,4175,8037,12210,65218,4140,2508,6728],"宝幡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dd816747b646199e5026a31a8f45bc.jpg",[],{"id":65222,"slug":65223,"title":65224,"dynasty":76,"author":48559,"museum":206,"description":65225,"tags":65226,"thumbUrl":65227,"material":527,"size":65228,"collection":139,"collections":65229,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},223262,"zhen-hai-si-xue-jing-zhou-zhang-ruo-cheng-223262","镇海寺雪景轴","《命张若澄图镇海寺雪景因而有作》是清代诗人弘历创作的一首五言排律。\n寺景宜遥看，到寺无多奇。\n却见遥看处，纷然画景披。\n予因是絜矩，万事皆如兹。\n动而世为道，言行法则垂。\n此言往者然，至若生同时。\n远则有望耳，不厌更近之。\n偶此道中庸，释典何即离。\n阇黎粥饭罐，奚足语以斯。\n可惜占福地，尽属黄与缁。\n忆我前度来，回銮驻道陲。\n彼时亦逢雪，瑞叶纷葳蕤。\n翠柏红墙间，寒剽（钟中者谓之剽）送响迟。\n谓是宜图取，若霭属车随。\n粉本为指授，帧端题以诗。\n逮今成旧迹，宝笈藏石渠（叶）。\n六霙仍践盟，旋融春光熙。\n数间精舍中，月户亲凭窥。\n千林复万巘，色相难为辞。\n传语示其弟，坚頫踪可师。\n弘历（1711-1799），即清高宗。\n清代皇帝。\n年号乾隆。\n175-1796年在位。\n爱新觉罗氏。\n满族。\n雍正第四子，名弘历。",[7,23,225,29,27,2019,9908,34,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb944f39c020a732f5168b569e8c74372.jpg","103.4×56.9厘米",[],{"id":65231,"slug":65232,"title":65233,"dynasty":76,"author":2946,"museum":206,"description":27075,"tags":65234,"thumbUrl":65236,"material":27079,"size":27080,"collection":139,"collections":65237,"showCount":441,"zanCount":48,"manualWeight":48,"mainColor":94},223094,"hua-di-qi-ga-na-ga-ba-sa-zun-zhe-zhou-yao-wen-han-223094","画第七嘎纳嘎巴萨尊者轴",[7,23,27,28,243,225,106,34,84,176,109,435,65235,263],"果盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba3e29af9ff3dfe7f92ff487a79712a8.jpg",[],{"id":65239,"slug":65240,"title":65241,"dynasty":76,"author":65242,"museum":206,"description":65243,"tags":65244,"thumbUrl":65245,"material":65246,"size":65247,"collection":139,"collections":65248,"showCount":441,"zanCount":48,"manualWeight":48,"mainC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水泽的清寂空阔尽数铺陈，带着独有的雅致禅意，观之如临其境，仿佛能听闻水禽振羽、水波轻响，将闲淡幽远的诗意藏在浅淡笔墨之中。",[7,23,209,28,27,83,227,3873,2310,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e832b15a5de9c66a6dced0233e6ec0f.jpg",[],{"id":66400,"slug":66401,"title":3628,"dynasty":76,"author":66402,"museum":311,"description":66403,"tags":66404,"thumbUrl":66405,"material":2164,"size":2165,"collection":139,"collections":66406,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},288473,"shan-shui-tu-li-zhou-lin-san-zhi-288473","林散之","近岸林木枝桠苍劲，以浓淡墨色点染枝叶，野趣横生。渔舟缓行江面，水波澹澹漾开清寂意趣。中景峰峦列峙，皴擦间见山石嶙峋质感，溪桥卧波，村居错落枕水，将烟火意趣揉入山水丘壑。\n\n远景岫顶以淡青晕染，烟岚轻笼云山，虚实相生晕开朦胧空濛。画作以书入画，线条老辣朴拙，干湿浓墨层次分明，题诗与画面浑然相融，将江南水村的清灵闲逸晕染开来，笔底藏着温润生机，尽现水墨山水的雅致禅意。",[7,23,225,173,27,29,108,109,174,557,34,35,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4090f06345b2d4fb4d4645a25caede3.jpg",[],{"id":66408,"slug":66409,"title":66410,"dynasty":18,"author":278,"museum":311,"description":66411,"tags":66412,"thumbUrl":66413,"material":2164,"size":2165,"collection":139,"collections":66414,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},288470,"qiu-lin-fang-du-tu-yi-ming-288470","秋林放犊图","此作以层叠秋林铺陈画面主体，老干虬曲苍劲，以浓淡墨色区分秋叶：或晕染出苍红秋意，或积墨写就沉黛茂叶，枝叶俯仰生姿，尽显深秋萧疏却不失浑朴的山野气象。林麓水畔，水牛闲静垂首，将郊野放犊的日常野趣悄然晕开。林间轻落点染，似有飞叶浮尘，更衬出秋郊的阒寂安闲。全作用笔简淡古雅，水墨为骨略施淡彩，留白悠远空寂，将秋日林野的清疏意韵与田园闲情相融，尽显平淡天真的宋人意趣，把寻常放牧小景，绘就成一卷诗意悠然的秋郊闲兴之境。",[7,23,173,225,866,151,5613,29,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ed33187789e6a4447b0a5939ddfc07.jpg",[],{"id":66416,"slug":66417,"title":57106,"dynasty":76,"author":43510,"museum":311,"description":66418,"tags":66419,"thumbUrl":66420,"material":2164,"size":2165,"collection":139,"collections":66421,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},288449,"xi-shan-wu-jin-tu-juan-zhou-hao-288449","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯",[7,209,23,24,25,173,29,177,557,4064,174,178,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f875b7e8ae770f0560d5622fc8430f.jpg",[],{"id":66423,"slug":66424,"title":66425,"dynasty":76,"author":278,"museum":311,"description":66426,"tags":66427,"thumbUrl":66428,"material":2164,"size":2165,"collection":139,"collections":66429,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},288445,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ming-chen-li-yin-zu-yi-ming-288445","历代帝王贵妃大臣朝服像(名臣李荫祖)","此作工笔精细写实，尽显重臣威仪。画师细摹人物面容，虬髯浓眉，神色沉凝端肃，目光沉稳有神，精准勾勒出勋贵官员的庄重气度。\n\n朝服纹饰繁复精巧，团龙纹细腻工整，晕染层次分明，石青底色配朱红朝珠，色调沉稳华贵，佩饰形制严谨规整，恪守清代官服礼制规范。画作以细腻笔触还原服饰规制细节，将人物的沉稳气场尽显，是清代纪实肖像的典范之作，留存下清代高阶官员的典型仪容风貌。",[7,23,225,28,27,2158,58801,340,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ac0061d733eae74f3d31604564977.jpg",[],{"id":66431,"slug":66432,"title":66433,"dynasty":76,"author":278,"museum":311,"description":66434,"tags":66435,"thumbUrl":66437,"material":2164,"size":2165,"collection":139,"collections":66438,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},288437,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ting-chen-yi-ming-288437","历代帝王贵妃大臣朝服像(廷臣)-","此作为工笔重彩肖像，写实传神，将清代高阶朝臣的威仪尽显无余。\n画家以细腻笔触晕染官员面容，皮肉质感饱满柔和，神态端凝肃穆，自带不怒自威的沉静气场。石青色朝服沉穆厚重，补子、织金暗纹细节一丝不苟，朝珠珠串光泽莹润，腰间绶带绣饰精巧，处处彰显服饰规制的华贵精巧。\n兽足座椅与祥云座褥勾勒细致，烘托出人物尊崇地位。整作色调古雅沉稳，既有纪实画像的严谨规制，又暗含写意传神的精妙，将清代官僚的肃穆仪容刻画入微，是清代肖像画中极具代表性的写实佳品。",[7,23,24,225,27,28,106,66436,340,12317,63],"廷臣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ed5d6eb26cac6684824e01e1a06a5f.jpg",[],{"id":66440,"slug":66441,"title":30227,"dynasty":18,"author":2297,"museum":311,"description":66442,"tags":66443,"thumbUrl":66444,"material":2164,"size":2165,"collection":139,"collections":66445,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},288333,"lie-quan-tu-li-di-288333","画面右上方署有[庆元丁巳岁李迪画]年名款。此图为李迪晚年小幅画精作。本幅钤有[都省书画之印]及清代收藏家耿昭忠鉴藏印多方，对幅有耿昭忠题记一则。《虚斋名画录》著录。\n犬的形态生动，造型准确，刻画细致入微，毛茸茸的细毛和脚爪清晰可见。",[7,209,23,24,81,28,27,26092,808,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f5913fed74e7adadfe31e9b1ef4d9a.jpg",[],{"id":66447,"slug":66448,"title":66449,"dynasty":76,"author":278,"museum":311,"description":66450,"tags":66451,"thumbUrl":66452,"material":2164,"size":2165,"collection":139,"collections":66453,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},288319,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-tai-zi-fei-yi-ming-288319","历代帝王贵妃大臣朝服像(太子妃)","此作工笔精妙，人物端然正坐，宝蓝色吉服织就团金龙纹，金彩煌煌，将绸缎柔滑质感晕染入微，华贵不失端庄。面容写实温婉，沉静神态尽显世家尊荣仪范，不见张扬，自有矜重威仪。\n座椅髹漆雕花，衬以织锦披垫，细节处处考究，烘托出人物尊崇身份。整体色调沉雅克制，蓝金对比和谐贵气，以精微写实技法，将贵女的服饰礼制与雍容仪态尽致展现，是肖像画中纪实性与艺术性兼具的上乘之作。",[7,23,28,27,106,63,433,340,2158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedebdf872ceae97772094cf0d485cced.jpg",[],{"id":66455,"slug":66456,"title":66457,"dynasty":76,"author":1929,"museum":311,"description":57194,"tags":66458,"thumbUrl":66459,"material":2164,"size":2165,"collection":139,"collections":66460,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":255},288297,"wan-shi-da-ji-tu-li-shan-288297","万事大吉图",[7,23,209,173,225,83,2801,1365,86,263,178],"https:\u002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象，带着宋画特有的内敛雅致，历经岁月流转，依旧能让人窥见画中蕴藏的悠然道韵。",[7,23,2158,27,66528,263,86,225],"道教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ebf33fdec174129d3bd9f1dd70f565.jpg",[],{"id":66532,"slug":66533,"title":66534,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":66535,"thumbUrl":66536,"material":2164,"size":2165,"collection":139,"collections":66537,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},283772,"ge-ti-gu-shi-shi-jiu-shou-juan-dong-qi-chang-283772","各体古诗十九首卷",[7,209,24,25,86,2570,178,621,5405,1163,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbedbbbd514c6acbd12911211a88cf4.jpg",[],{"id":66539,"slug":66540,"title":64568,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":66541,"thumbUrl":66542,"material":2164,"size":2165,"collection":139,"collections":66543,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},283764,"lin-ge-jia-shu-juan-dong-qi-chang-283764",[7,25,86,24,105,178,2570,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5fd3ef629fa2133fe9f09c08a21270.jpg",[],{"id":66545,"slug":66546,"title":66547,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":66548,"thumbUrl":66549,"material":2164,"size":2165,"collection":139,"collections":66550,"showCount":5,"zanCount":2209,"manualWeight":48,"mainColor":94},283722,"lin-song-si-jia-shu-juan-dong-qi-chang-283722","临宋四家书卷",[7,25,86,24,105,178,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc456037d31b2f70c134a2c3717659281.jpg",[],{"id":66552,"slug":66553,"title":66554,"dynasty":189,"author":31275,"museum":311,"description":66555,"tags":66556,"thumbUrl":66558,"material":2164,"size":2165,"collection":139,"collections":66559,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":629},283622,"xing-shu-tie-xian-yu-shu-283622","行书帖","鲜于枢（1246年—1302年），字伯机，号困学山民、直寄老人，晚年营室名“困学之斋”，祖籍金代德兴府（今张家口涿鹿县），生于汴梁（今河南开封），汉族，大都（今北京）人，一说渔阳（今津蓟州区）人，元代著名书法家，寓居扬州、杭州。大德六年（1302年）任太常典薄。元世祖至元年间以才选为浙东宣慰司经历，后改浙东省都事。\n鲜于枢晚年任太常典簿。好诗歌与古董，文名显于世，书法成就最著。明朱权《太和正音谱》将其列于“词林英杰”一百五十人之中。《新元史》有传。鲜于枢善诗文，工书画。尤工草书，酒酣吟诗作字，奇态横生，赵孟頫极推重之。有《困学斋杂录》、《困学斋诗集》。",[7,86,178,620,622,25,1647,58754,29,1087,66557],"寺院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e84c1a53ca1baf82a25aee1b9826c7a.jpg",[],{"id":66561,"slug":66562,"title":66563,"dynasty":76,"author":7373,"museum":311,"description":33854,"tags":66564,"thumbUrl":66565,"material":2164,"size":2165,"collection":139,"collections":66566,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},241671,"xiao-xian-huang-hou-wan-shi-juan-qian-long-241671","孝贤皇后挽诗卷",[7,86,25,178,263,8289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a0bd11e74d15b4553b7e52eb7d9102.jpg",[],{"id":66568,"slug":66569,"title":66570,"dynasty":18,"author":60579,"museum":311,"description":60580,"tags":66571,"thumbUrl":66572,"material":699,"size":139,"collection":328,"collections":66573,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},241659,"xing-ci-zhan-kui-shi-tuo-juan-zhao-shen-241659","行赐詹骙诗拓卷",[7,24,25,620,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d626d0e0dab15bb200c273c6b447da.jpg",[328],{"id":66575,"slug":66576,"title":66577,"dynasty":99,"author":817,"museum":311,"description":27771,"tags":66578,"thumbUrl":66579,"material":2164,"size":2165,"collection":139,"collections":66580,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},241182,"ming-wen-zheng-ming-shou-zha-wen-zheng-ming-241182","明文徵明手札",[7,86,178,8289,7330,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c98196188bd1c8af15ea72a6627650.jpg",[],{"id":66582,"slug":66583,"title":66584,"dynasty":99,"author":66585,"museum":311,"description":66586,"tags":66587,"thumbUrl":66588,"material":2164,"size":2165,"collection":139,"collections":66589,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},241094,"xing-shu-shou-zha-yang-yi-qing-241094","行书手札","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[7,939,86,178,2547,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8095e0abeb78b13c48a1d862f3c8cdca.jpg",[],{"id":66591,"slug":66592,"title":66593,"dynasty":189,"author":66594,"museum":311,"description":66595,"tags":66596,"thumbUrl":66597,"material":2164,"size":2165,"collection":139,"collections":66598,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},240926,"jing-chun-tang-han-mo-juan-wang-yi-240926","静春堂翰墨卷","王祎","王禕(yī)[公元一三二一年至一三七三年]（一作褘），字子充，義烏來山人，後依外祖父居青岩傅。生於元英宗至治元年，卒於明太祖洪武五年，年五十二歲。幼敏慧。",[7,86,25,178,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67105e9fa15affd7de26da7778b5f5d4.jpg",[],{"id":66600,"slug":66601,"title":66602,"dynasty":76,"author":963,"museum":311,"description":4519,"tags":66603,"thumbUrl":66604,"material":2164,"size":2165,"collection":139,"collections":66605,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":255},240826,"yuan-ji-shu-lin-jin-tang-shu-tie-juan-shi-tao-240826","原济书临晋唐书帖卷",[7,209,23,24,25,178,105,622,173,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694240edd7e464f72a2832d04f43f0cc.jpg",[],{"id":66607,"slug":66608,"title":66609,"dynasty":99,"author":936,"museum":311,"description":9950,"tags":66610,"thumbUrl":66611,"material":2164,"size":2165,"collection":139,"collections":66612,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},240816,"qi-yan-shi-juan-chen-hong-shou-240816","七言诗卷",[7,86,25,178,263,173,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F658dac69ba332788e6140d0f020f5e50.jpg",[],{"id":66614,"slug":66615,"title":66616,"dynasty":99,"author":15924,"museum":311,"description":23420,"tags":66617,"thumbUrl":66618,"material":2164,"size":2165,"collection":139,"collections":66619,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},240264,"qi-jue-juan-mo-shi-long-240264","七绝卷",[7,99,86,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35ccf909fb2bae7aa8f44c8f4a7ed4c.jpg",[],{"id":66621,"slug":66622,"title":50984,"dynasty":99,"author":66623,"museum":5239,"description":66624,"tags":66625,"thumbUrl":66626,"material":67,"size":139,"collection":328,"collections":66627,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},240028,"zi-shu-shi-juan-li-dong-yang-240028","李东阳","明李东阳行草自书诗卷，该卷作于正德八年（1513年），作者时年67岁。所作的诗有《钱塘江潮歌》、《西湖春晓图》、《清明日西庄作》、《城西省墓归过赵生园池二首》、《独酌二首》、《一醉二首》。这些诗除《钱塘江潮歌》（原名为《钱塘江潮图·为乔少卿希大作》）及《西湖春晓图》（原名为《题湖山春晓图》）已收入《怀麓堂全集》外，其余的诗均未见辑集。",[7,86,178,25,8289,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949fe8a4fe96c34611bb4dece97462ee.jpg",[328],{"id":66629,"slug":66630,"title":66631,"dynasty":189,"author":645,"museum":20,"description":66632,"tags":66633,"thumbUrl":66634,"material":3071,"size":66635,"collection":328,"collections":66636,"showCount":5,"zanCount":2209,"manualWeight":48,"mainColor":94},239668,"san-duan-juan-zhao-meng-fu-239668","三段卷","释文：\n首段：昔者圣人之作《易》也，幽赞于神明而生蓍，参天两地而倚数，观变于阴阳而立卦，发挥于刚柔而生爻，和顺于道德而理于义，穷理尽性以至于命。大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫鉴藏印。\n首段节录《周易·系辞》，署款：“大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫。”钤“赵氏子昂”印。书于元大德九年（1305年），作者时年52岁。\n二段：玄都坛歌。故人昔隐东蒙峰，已佩含景苍精龙。故人今居子午谷，独在阴崖结茅屋。屋前太古玄都坛，青石漠漠常风寒。子规夜啼山竹裂，王母昼下云旗翻。知君此计成长往，芝草琅玕日应长。铁锁高垂不可攀，致身福地何萧爽。大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。\n二段录杜甫《玄都坛歌》，署款：“大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。”钤印同上。书于元大德十年（1306年），作者时年53岁。\n末段：白云从何来，乃在计筹山。山中老仙伯，翱翔白云间。结屋松竹里，开窗泉石边。焚香诵《道德》，清斋降神仙。俯仰皆自得，洗心游太玄。我欲往从之，规买山下田。艺药扫白发，栽桃映红颜。庶几林下意，期了区中缘。丹成从师去，笑拍洪崖肩。 琼山发天秀，珠泉表地灵。柔荑吐丹葩，乔林标绛英。酌醴吸冲和，汲涧漱甘清。石门开洞门，木龙走岩扃。清飚一时至，四座浮幽馨。阆风何必远，世尘空自冥。从游当有期，淹留讵无成。左手撷紫芝，右手采黄精。振衣陟崇冈，遐观散神情。长啸烟雾里，满空鸾鹤声。吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。前诗似更有二句，然老昏忘之矣。\n末段录自作诗《寄题杜尊师白云庵琼秀亭》二首，署款：“吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。”钤印亦同前。书于元延祐六年（1319年），作者时年66岁。\n赵孟頫喜与释道人物游，执弟子礼师事者，则为僧人中峰明本与道士南谷真人。南谷名杜道坚，曾住持杭州宗阳宫等道观。本卷前二段即为南谷而书；末段则系南谷殁后为其弟子袁安道而书，亦寓纪念南谷之意，是研究赵氏生平交谊的重要资料。以书法论，三段皆精心用意之作。首段奔放跌宕，二段妍润隽逸，末段遒健苍古，堪称赵氏中、晚年行书的代表作品。卷前有元人乔宇篆书引首；尾纸有元陈旅、张雨、杜本、揭傒斯、张翥等12人及明项元汴所作题识。卷中钤有明项元汴，清李肇亨、梁清标及乾隆、嘉庆、宣统内府章。",[7,209,23,24,25,86,178,173,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89b0144482e38292a3052899d495ae76.jpg","首段纵31.1厘米，横101.5厘米，二段纵31.1厘米，横100.2厘米。三段纵29.9厘米，横103厘米",[328],{"id":66638,"slug":66639,"title":66640,"dynasty":189,"author":47467,"museum":20,"description":66641,"tags":66642,"thumbUrl":66643,"material":699,"size":66644,"collection":328,"collections":66645,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},239619,"heng-tang-tie-ye-zhao-lin-239619","衡唐帖页","释文：\n今早拟欲专造，缘执事昨晚云，大尹兄到弊舍，所以不果，而专俟舟从之来临耳。不然安敢坐待，以速罪也。伏希情恕不具。赵麟拜启。衡唐征君先生。衡唐先生。赵麟完。\n本幅鉴藏印有“安岐仪周书画之章”、“无恙”、“樵李氏鹤梦轩珍藏记”、“景贤”等16方。\n赵孟頫翰墨之妙名贯一代。其孙赵麟虽无盛名，但书翰皆出规入矩，笔意流动，洒落超逸，亦不失家法。正如明陶宗仪《书史会要》所言：“麟书更益以工，便可造其父之域。”",[7,24,86,178,263,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0aab4d637be25f30f819f1430d4e09.jpg","纵28.2厘米，横25.2厘米",[328],{"id":66647,"slug":66648,"title":66649,"dynasty":189,"author":57133,"museum":20,"description":66650,"tags":66651,"thumbUrl":66652,"material":20170,"size":66653,"collection":328,"collections":66654,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},239616,"shi-jian-tie-lu-guang-239616","诗简帖","《诗简帖》释文（略）\n帖上钤有项元汴、孙承泽、安岐、完颜景贤、何厚琦、赵叔彦、张爰、谭敬诸家印记。\n这两首诗并信笺是写给“克用先生”即虞堪的。虞堪是南宋名相雍国公虞允文的八世孙。虞雍公曾有古剑一柄，为人叹赏，陆广第一首诗就是咏这把剑的，同时追忆虞雍公对社稷朝廷的忠勤业绩。元代文人杨维桢、倪瓒、秦文仲等人亦有咏此剑的诗篇。第二首诗陆广记述与虞堪愉快而难忘的相会。此篇书法师《曹娥碑》，风格瘦硬清劲。\n《墨缘汇观》、《三虞堂书画目》著录。",[7,86,178,263,622,173,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6947843ad4bda8ffbb8096f4970ca09a.jpg","纵29.7厘米，横32.4厘米",[328],{"id":66656,"slug":66657,"title":66658,"dynasty":99,"author":66659,"museum":20,"description":66660,"tags":66661,"thumbUrl":66662,"material":43712,"size":66663,"collection":328,"collections":66664,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},239612,"qian-zi-bi-yin-zha-juan-zhang-jun-239612","遣子毕姻札卷","张骏","释文：\n北京遣第三子云鹤还松江毕姻，与唐亲家书。维时野梅呈腊，宫柳回春，共谂晋国郡尊太亲家，阖闳宝聚前。天锡鸿庥，日臻燕祉。乐丘园而遯迹，藉诗酒以陶情。一别星标，五更岁籥，遥切一门婘爱，不胜千里之驰思。丹凤楼头，载笔叨依于日下，黄龙浦口，飞帆未得向江南。暑递往而寒递来，霎然过眼，男将婚而女将嫁，寔尔劳心。且小儿缪习夷书，滥赝冠带。而令爱素闲红女绣，宜施衿鞶言。念唐子方以来，世系绵绵乎瓜瓞；张公瑾而下，家声秩秩乎冠缨。幸谐二姓之天缘，获缔百年之星眷。珠冠结凤，少陪奠鹰之仪，尺素衔鱼，将遂乘龙之愿。计高明之雅度，礼虽薄而无嫌， 惟远大之后图，来期速而无缓，或符至愿，敢负深恩，岂草木之无知，当琼瑶之有报。麾留是望，鉴念不宣。又礼书一通，物状刑楮，陈之荪不赘，清河郡眷生张骏拜手。昼绣堂书。\n款下印“绿屋人仙”、“金紫清华”，引首印“世经科第”。鉴藏印钤“嘉兴唐翰题子冰书画记”、“德大审定”、“罗振玉印”等诸方。\n卷后有唐翰题、罗振玉题跋两则。\n此书是张骏致唐姓“亲家”的一封礼书，內容是让其子回松江（今上海）完婚，并送去了彩礼。\n张骏的书法时以狂草体著称，以他狂怪奔放的草书风格而论，此书则显得拘谨刻板得多。其书笔法精润，笔画起落轻重分明，使转灵便，呈现出圆润妍美、劲健潇洒的风韵。",[7,24,86,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36a4b5d65ccdac03ac2dfafd831cf29.jpg","纵24厘米，横230厘米",[328],{"id":66666,"slug":66667,"title":66668,"dynasty":189,"author":645,"museum":20,"description":66669,"tags":66670,"thumbUrl":66671,"material":699,"size":139,"collection":328,"collections":66672,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},239593,"zhi-ji-zong-yuan-er-zha-juan-zhao-meng-fu-239593","致季宗源二札卷","赵孟頫，中国元代天才文学艺术家。他是宋朝王孙，自幼英机敏识，勤奋好学，青中年时代便在经史、文学、书画、金石、音乐诸方面取得极高成就，是著名的“吴兴八俊”之首。入元后，他被荐入朝，备受荣宠，仕至翰林学士承旨，荣禄大夫，富贵显赫，但对书法、绘画的研究与实践则从未暇怠，终于开生面，登高峰，力纠南宋晚期书坛画苑的积习，开启了一代新风，其影响之深广，同代诸大家无一可与比肩。\n赵孟頫的书法与他的绘画一样，不仅诸体兼擅，真、草、隶、篆都取得极高成就。特别是他的楷、行，更是力追晋唐，妙集众长，融通贯化，自成其潇洒隽美，朗润清华，既有古意又具今貌的“赵书”风韵。鲜于枢称“子昂篆、隶、真、行、颠草为当代第一”，应该是言出由衷的。\n赵氏书法流传不少，一是因为求索甚众书写勤快，一是历来受到珍视，得到妥善的保存。不过，他的书迹如今已大多归之于世界各大博物馆了，民间绝少留存。今春现身中国嘉德的赵书《致宗元总管札》便是近二十年来拍卖市场难得一见的赵孟頫手墨。",[7,86,24,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640a960cf1ed87720690f810e9c26c25.jpg",[328],{"id":66674,"slug":66675,"title":131,"dynasty":99,"author":35112,"museum":311,"description":35113,"tags":66676,"thumbUrl":66677,"material":139,"size":139,"collection":139,"collections":66678,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234268,"hua-hui-ce-qi-xun-234268",[7,23,24,81,173,178,263,84,406,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0033685bba334666ca8ac9ae54eca497.jpg",[],{"id":66680,"slug":66681,"title":32945,"dynasty":99,"author":10906,"museum":311,"description":48568,"tags":66682,"thumbUrl":66683,"material":139,"size":139,"collection":139,"collections":66684,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234222,"shan-shui-juan-sun-zhi-234222",[7,23,24,25,29,173,27,177,557,34,31,111,35,1087,10496,1365,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":66686,"slug":66687,"title":32945,"dynasty":76,"author":60224,"museum":311,"description":66688,"tags":66689,"thumbUrl":66690,"material":139,"size":139,"collection":139,"collections":66691,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[7,23,24,25,173,177,29,34,176,35,31,1265,1267,1128,2883,3981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":66693,"slug":66694,"title":66695,"dynasty":76,"author":7940,"museum":20,"description":66696,"tags":66697,"thumbUrl":66698,"material":841,"size":66699,"collection":139,"collections":66700,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[7,23,24,25,173,27,29,177,178,86,174,266,109,34,7558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":66702,"slug":66703,"title":66704,"dynasty":99,"author":66705,"museum":20,"description":66706,"tags":66707,"thumbUrl":66708,"material":841,"size":139,"collection":139,"collections":66709,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234147,"xie-sheng-shu-hua-juan-wang-gu-xiang-234147","写生书画卷","王谷祥","王榖祥 （1501-1568），字禄之，号酉室，长洲（今江苏苏州）人。嘉靖八年（一五二九）进士，官吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不坠羲之献之之风，篆籀八体及摹印，并臻妙品。卒年六十八。",[7,23,24,25,173,1904,178,263,402,227,369,264,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea5c2be707b2e0f8af30540e90fe00f.jpg",[],{"id":66711,"slug":66712,"title":66713,"dynasty":99,"author":66714,"museum":20,"description":66715,"tags":66716,"thumbUrl":66717,"material":699,"size":139,"collection":139,"collections":66718,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[7,23,24,25,178,27,28,173,29,107,108,109,175,226,384,35,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":66720,"slug":66721,"title":66722,"dynasty":76,"author":66723,"museum":311,"description":66724,"tags":66725,"thumbUrl":66726,"material":139,"size":139,"collection":139,"collections":66727,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},232820,"xi-jin-chun-feng-shu-fa-wang-shi-hong-232820","西禁春风 书法","汪士鋐","汪士鋐（1658年－1723年），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，授翰林院修撰，修纂《佩文韵府》、《全唐诗》、《渊鉴类函》等书。官至中允。书法与姜宸英并称“姜汪”。与笪重光、姜宸英、何焯并称康熙四大家。有《秋泉居士集》。",[7,24,86,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142c4b7f8bc573944d7f80ab0aba0dbf.jpg",[],{"id":66729,"slug":66730,"title":66731,"dynasty":99,"author":28316,"museum":101,"description":66732,"tags":66733,"thumbUrl":66734,"material":699,"size":66735,"collection":139,"collections":66736,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},232775,"han-guan-zi-qi-tu-juan-zhang-hong-232775","函关紫气图卷","这是一幅牧童放牛图，小牧童们或坐于牛背上，或用劲拽缰绳，或与牛打闹，童趣十足。画面上牛的形态各不相同，或抵角打闹，或卧于一起，或母子情深。",[7,23,24,25,173,151,106,266,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1e79cb5d7e9232f9f8d67a1a85b087.jpg","27.3x441.3厘米",[],{"id":66738,"slug":66739,"title":19220,"dynasty":76,"author":18645,"museum":222,"description":66740,"tags":66741,"thumbUrl":66742,"material":67,"size":66743,"collection":139,"collections":66744,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231947,"shuang-ma-tu-yu-yuan-231947","虞沅（生卒年不详），字畹之，海虞画苑略作浣之，或作翰之， 江都（今江苏扬州）人，居常熟。善画，亲炙王翚，颇得趋向。山水著笔落墨不多，其浑沦劲挺之致，亦是专家。花卉翎毛钩染妍雅，赋色荷花得古人逸法。",[7,23,24,225,28,27,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4260e08880a972bb39bc262f6513a95a.jpg","172.6x 68.6",[],{"id":66746,"slug":66747,"title":66748,"dynasty":277,"author":278,"museum":311,"description":66749,"tags":66750,"thumbUrl":66751,"material":2164,"size":2165,"collection":139,"collections":66752,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231806,"jie-tou-sheng-huo-tu-juan-yi-ming-231806","街头生活图卷","以淡彩白描铺展巷陌日常，左首杂耍游街攒动着喧嚷人群，戏班造势的热闹冲破纸面；巷中邻里凭窗探看、闲人围坐笑谈，稚童穿梭打闹，揉碎了松弛烟火；右侧挑水赶路、呼喝结伴，把生计日常绘得鲜活温热。\n线条轻简灵动，不着浓墨重彩，却将町市浮生的鲜活尽数藏在笔底，仿佛能听见沿街的吆喝嬉闹，将平凡市井里的喧嚷温情一一铺陈开来。",[7,23,24,25,244,27,106,107,34,14900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb776da5756a918b54e1b1d020923c8a3.jpg",[],{"id":66754,"slug":66755,"title":66756,"dynasty":277,"author":278,"museum":311,"description":66757,"tags":66758,"thumbUrl":66759,"material":139,"size":139,"collection":139,"collections":66760,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231770,"wang-gu-feng-su-hua-hui-juan-yi-yi-ming-231770","往古风俗画绘卷一","以淡彩平涂兼白描勾勒，铺展古时闾里全景。黛瓦白墙的院落层叠排布，庭间花木点缀，晕染出雅致生机。巷陌庭院间人物错落，或闲坐晤谈，或操持杂务，将日常烟火一一铺陈。画作线条清隽柔和，无繁复晕染，却把民居形制与鲜活世情相融，如一卷凝固的旧时生活切片，将平淡鲜活的市井日常定格绢素，尽显古雅世俗意趣，让观者得以窥见往昔巷弄里的安稳烟火与脉脉温情。",[7,1656,25,28,27,104,106,107,115,34,83,35,2950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac420d80bd8013ec8e31c27bcee4a3d.jpg",[],{"id":66762,"slug":66763,"title":66764,"dynasty":277,"author":55847,"museum":311,"description":33956,"tags":66765,"thumbUrl":66766,"material":2164,"size":2165,"collection":139,"collections":66767,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231752,"mu-ma-tu-ping-feng-di-er-ping-zhang-gu-chuan-deng-bo-231752","牧马图屏风第二屏",[7,23,24,299,27,28,106,150,808,34,1003,282,9248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4eaf33f4fb0d88855c935dc14bf6b14.jpg",[],{"id":66769,"slug":66770,"title":66771,"dynasty":277,"author":66772,"museum":311,"description":66773,"tags":66774,"thumbUrl":66775,"material":2164,"size":2165,"collection":139,"collections":66776,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231739,"jiang-hu-shi-dai-qian-tang-guan-chao-tu-ping-feng-chi-da-ya-231739","江户时代 钱塘观潮图屏风","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[7,23,24,173,177,299,29,176,34,37,434,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8db9acb303c8ef84afdfe3579cf19e.jpg",[],{"id":66778,"slug":66779,"title":66780,"dynasty":277,"author":51099,"museum":311,"description":66781,"tags":66782,"thumbUrl":66783,"material":2164,"size":2165,"collection":139,"collections":66784,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231737,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-yi-ping-yang-yue-231737","室町时代 四季山水图屏风-一屏","此作以淡墨晕染留白绘出覆雪山峦，寒雾将远山晕成虚渺剪影，虬曲枯松倚立危崖，苍劲的松枝带着残绿，破开满山素白的萧寒。山坳间屋舍错落雅致，篱扉前侍者静立，为清寂的山野添上人间暖意。笔意简淡空灵，以无胜有写尽冬雪空蒙，将隆冬山居的安闲清旷揉入尺幅，动静相映，清冷中藏着烟火意韵，尽显东方山水留白写意的悠远意境。",[7,23,24,225,173,27,29,107,1365,176,106,2019,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e459481ce37d89e8c4717c187229972.jpg",[],{"id":66786,"slug":66787,"title":66788,"dynasty":277,"author":278,"museum":311,"description":66789,"tags":66790,"thumbUrl":66791,"material":2164,"size":2165,"collection":139,"collections":66792,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231733,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-yi-ping-yi-ming-231733","江户时代 洛中洛外图屏风-一屏","以泥金为底晕染华贵底色，亭台楼阁错落隐于苍松翠色间，朱黛屋宇精致工丽，尽显雅致格调。整卷铺陈城邑百态：贩夫牵车穿梭街巷，雅客围坐厅堂宴饮，车马往来络绎，将市井烟火与士族闲趣交织一处。界画严整写实，屋宇建制分毫毕现，小人物亦形神兼具，把彼时城邑的鲜活世态揉入疏密错落的构图中，是复刻往昔日常、窥见旧时人情的绝佳风物长卷。",[7,27,104,28,299,106,107,34,150,115,30157,1365,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c69ce062142cb26af04ff392936794.jpg",[],{"id":66794,"slug":66795,"title":66796,"dynasty":277,"author":278,"museum":311,"description":66797,"tags":66798,"thumbUrl":66799,"material":2164,"size":2165,"collection":139,"collections":66800,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231732,"shi-ting-shi-dai-yue-ci-feng-su-tu-ping-feng-yi-ming-231732","室町时代 月次风俗图屏风","以分段全景铺陈世相，上段朱红鸟居攒动着祭典人潮，神舆穿行、阁上观礼，将神社祭典的喧嚷烟火揉进淡彩绢面。中段寒松下踏雪徐行，郊野雅趣悄然中和了祭典的喧闹。下段驰马挥械，甲胄扬尘间，武事竞技的张力扑面而来。\n\n朴拙的笔意晕开古旧质感，没有繁复勾描，却将祭仪、游冶、武事的时代风俗鲜活定格，让古昔年间的日常盛景跨越岁月，带着温热的市井气息浮现眼前。",[7,27,28,299,106,107,403,29,4228,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f37c42d1f22af23e54171be250b144.jpg",[],{"id":66802,"slug":66803,"title":66804,"dynasty":277,"author":278,"museum":311,"description":66805,"tags":66806,"thumbUrl":66807,"material":2164,"size":2165,"collection":139,"collections":66808,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231684,"tao-shan-shi-dai-qian-niu-hua-tu-yi-ming-231684","桃山时代 牵牛花图","以满幅构图铺陈牵牛花野趣，藤蔓肆意缠绕交错，将攀附篱架的夏花盛景凝于绢上。虽经岁月晕染，底色蒙尘黯淡，花叶敷色仍存雅致余韵。叶片与花苞错落排布，带着蓬勃的山野生机，古旧色调晕开沉静侘寂的氛围，将盛放时鲜活肆意的姿态藏在朦胧斑驳里，仿若能窥见旧时院中风过藤摇的夏日元气，把转瞬即逝的花事定格成永恒，在残旧质感里晕开独属于旧时光的风雅意趣。",[7,209,23,24,27,28,83,84,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff242ada4ac76821dcf54b15945a7661a.jpg",[],{"id":66810,"slug":66811,"title":66812,"dynasty":277,"author":33955,"museum":311,"description":66813,"tags":66814,"thumbUrl":66815,"material":139,"size":139,"collection":139,"collections":66816,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231667,"ming-he-chang-nian-xiang-zhang-gu-chuan-231667","名和长年像","画面以沉敛色调铺陈，主位武士光头蓄须，暗绿狩衣裹身，按刀执扇端坐，神色沉静不怒自威，尽显武家首领的厚重威仪。右侧侍童着彩纹小袖恭跪身侧，斜挎和弓悄然烘托主从礼法。下方马夫正竭力控住前蹄抬起的烈马，躁动的骏马与紧绷的牵马人，为肃穆的场景揉进鲜活生气。\n笔触凝练细致，衣袍暗纹、马具铜饰都被悉心勾勒，将武人出行前的片刻日常定格，在侘寂古雅的氛围里，藏着武家独有的刚硬气场，平淡叙事中晕开沉雄张力。",[7,23,225,27,28,106,150,2508,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1090e99f26ee671509871b36d3f2435.jpg",[],{"id":66818,"slug":66819,"title":66820,"dynasty":277,"author":278,"museum":311,"description":66821,"tags":66822,"thumbUrl":66823,"material":2164,"size":2165,"collection":139,"collections":66824,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231654,"ping-an-shi-dai-hou-qi-fu-nie-pan-tu-yi-ming-231654","平安时代后期 佛涅槃图","画面虽经岁月磨洗，颜料斑驳剥落，却依旧能触摸到凝固的神圣瞬间。安卧的主尊神态恬然，将涅槃的圆融沉静铺展开来，周遭弟子眷属的身形依稀可见，悲戚的氛围透过残损的色块漫溢而出。\n\n依稀残存的线条带着古拙柔和的力道，晕染的痕迹藏着当年的细腻心思，肃穆的宗教感历经时光未曾消散。残损非但未减其韵，反倒添上一层跨越岁月的沧桑禅意，将入灭时的庄严超脱与俗世哀恸的张力，封存在绢本之上，引人于斑驳间遥想往昔，在褪色里感知这份不朽的绘事之美。",[7,243,27,106,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a479ccc6d654cfff5c4c7ff4f0b040.jpg",[],{"id":66826,"slug":66827,"title":66828,"dynasty":277,"author":278,"museum":311,"description":66829,"tags":66830,"thumbUrl":66831,"material":139,"size":139,"collection":139,"collections":66832,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231652,"yi-cai-xiao-xiang-hua-yi-ming-231652","易彩肖像画","肖像画因其侧重人物面貌的描写，古人又称之为“写真画”，或者是“传神”“写照”“传写”，它是中国画门类中最为古老的一个科目。中国肖像画的历史悠久，相比山水和花鸟而言，它的起源是最早的。在历经唐宋元的延续和嬗变之后，明清时期的肖像画更是达到了一个新的高度，形成了鲜明的特色和完整的体系，在中国绘画史上占据着非常重要的位置，生命力极其强大。\n明清肖像画在其时代的人物画发展的基础上，不仅对西方传于中国的写实性绘画技法予以了吸收借鉴，同时也充分融合了本民族绘画语言，包括正统的文人绘画和民间的写真术等，取得的巨大艺术成就，虽然不是绘画主流方向，但对其后人物画转向现实提供了尝试和可能，也为现代艺术家的创新提供了有益的基础,而其艺术特点和美学价值均是值得我们目前仍需深入展开和探究的内容。",[7,23,24,225,28,27,46275,86,2158,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4ff80e723721427982e6421699c69c.jpg",[],{"id":66834,"slug":66835,"title":66836,"dynasty":76,"author":66837,"museum":9826,"description":66838,"tags":66839,"thumbUrl":66840,"material":699,"size":66841,"collection":139,"collections":66842,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231589,"yang-niao-you-ju-tu-chen-zhen-yue-231589","阳鸟攸居图","陈震岳","此卷用水墨画各姿态鸿雁近百只，笔墨娴熟，造型生动，媲美边颐公。阳鸟即“随阳之鸟,即鸿雁之属”。\n陈震岳，字峻生，又字静斋，福建晋江人。善诗文、书画，所画芦雁尤佳。常于江天暮景，观雁之飞鸣起伏，而得其神妙。",[7,23,24,25,173,28,266,226,3899,16145,6397,34,2310,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1686057e9b26e44ff14f72b02d489fbf.jpg","26x498厘米",[],{"id":66844,"slug":66845,"title":66846,"dynasty":277,"author":59108,"museum":311,"description":59109,"tags":66847,"thumbUrl":66848,"material":2164,"size":2165,"collection":139,"collections":66849,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231585,"shi-ting-shi-dai-gao-shi-tan-mei-shan-shui-tu-shou-ye-zheng-xin-231585","室町时代 高士探梅山水图",[7,23,24,27,28,177,29,106,5728,402,1365,176,37,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":66851,"slug":66852,"title":66853,"dynasty":76,"author":14888,"museum":1279,"description":66854,"tags":66855,"thumbUrl":66856,"material":699,"size":66857,"collection":139,"collections":66858,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231531,"zhi-hua-niu-bei-song-jing-tu-gao-qi-pei-231531","指画牛背诵经图","高其佩（1660或1672—1734年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。清雍正年间曾宫中作画。\n所谓指画，即以手指蘸墨代替毛笔作画，用指尖、指甲、指背、掌沿等不同部位着纸，画出不同质感的线条，既保持了毛笔画的传统韵致，又有自己简约、刚健的特殊风味，从而能以得心应手地表现物象。",[7,23,24,27115,173,106,151,229,5152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ac262ebe35f216eebf751a05856bc.jpg","70.9×38.3cm",[],{"id":66860,"slug":66861,"title":66862,"dynasty":189,"author":41318,"museum":20,"description":66863,"tags":66864,"thumbUrl":66865,"material":699,"size":66866,"collection":139,"collections":66867,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231394,"shu-feng-ji-tie-ye-kang-li-nao-nao-231394","书奉记帖页","释文：\n巎再拜奉记\n彦中州判贤友执事者，范涣卿所寄来绒大二帖，已领。前所托者望付便人来，甚幸。更望二香卓，其一小者（旁注“高尺余”3小字），欲几榻间放；其一大者，高博尺四尺可也。得坚实素木为之，妙！复望惠及诸样海味，有便寄下。辄恃知爱，故尔叨喋，仍恕干烦也。巎再拜。\n鉴藏印钤明项元汴“墨林祕玩”、李肇亨“槜李李氏鹤梦轩珍藏记”等。\n《奉记帖》是康里巎巎写给朋友叶彦中的一封信札，内容为托寄香桌、海味等物件之事。\n帖左下角有朱笔楷书小字3行，记录的是康里巎传略：“子山，康里氏，父不忽木，祖燕贞，世有功业。巎亦学士承旨。卒谥曰文忠。”\n此帖笔法颇类怀素，运笔疾速飞动，结体圆转婉畅，笔画清劲妍丽，字字自相牵绕而又不相互连带，展示出书家自己的个性和风格。",[7,24,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82986a2819a3a47a8d0e209f24c1e431.jpg","纵29.8厘米，横55.7厘米",[],{"id":66869,"slug":66870,"title":66871,"dynasty":76,"author":14907,"museum":311,"description":66872,"tags":66873,"thumbUrl":66875,"material":2164,"size":2165,"collection":139,"collections":66876,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231058,"sai-shang-ye-qu-tu-jiao-bing-zhen-231058","塞上野趣图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。",[7,23,24,1352,27,28,29,4988,266,66874,25692],"边塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708c9c2f236532c6f6469d779a3c6473.jpg",[],{"id":66878,"slug":66879,"title":15923,"dynasty":99,"author":23430,"museum":311,"description":66880,"tags":66881,"thumbUrl":66882,"material":2164,"size":2165,"collection":139,"collections":66883,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},230896,"cao-shu-zhou-shao-mi-230896","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[7,86,2570,225,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ce6b2bde06fef217729894f1e56de.jpg",[],{"id":66885,"slug":66886,"title":66887,"dynasty":76,"author":66888,"museum":311,"description":66889,"tags":66890,"thumbUrl":66891,"material":139,"size":139,"collection":139,"collections":66892,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230871,"zhi-hua-chun-shan-dai-du-tu-zhu-lun-han-230871","指画春山待读图","朱伦瀚","《指头生活三百年:高其佩与指头画派(套装共2册)》内容简介：指头画，即以手代笔，蘸墨作画。\n中国传统绘画中的一种特殊的画法。\n即以画家的手指代替传统工具中的毛笔蘸墨作画，别有一种特殊趣味和技巧。\n历史上清代高其佩、近代潘天寿、洪世清所作指画作品其影响较大。\n辽宁与指头画有着深厚的渊源，指头画开派人物清代的高其佩祖籍是辽宁的铁岭。\n其弟子传派众多，至清末已达百余人，遂有“指头画派”之称，在清代绘画史中占有一席之地。\n国内著名的指墨家杨一墨就是辽宁开原人，现为铁岭中国手指画研究院院长。\n目前辽宁地区活跃着一批热爱和研究指画艺术、颇具影响力的画家。\n《指头生活三百年:高其佩与指头画派(套装共2册)》由辽宁美术出版社出版。\n《指头生活三百年·上卷》目录： 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《指头生活三百年·下卷》",[7,23,24,225,27,27115,106,29,866,176,177,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707cad4fc65c61dfbf21de15bf26ca76.jpg",[],{"id":66894,"slug":66895,"title":66896,"dynasty":76,"author":1563,"museum":311,"description":66897,"tags":66898,"thumbUrl":66899,"material":139,"size":139,"collection":139,"collections":66900,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230869,"san-shi-tu-hua-yan-230869","三狮图","以水墨绘就幽谷林泉，飞泉直落，古藤垂挂缠绕，泼墨晕染出山岩苍润空濛的野逸氛围。画幅下方三狮错落，两白狮以淡墨勾皴毛发，蓬松柔润，神态威沉内敛；黑狮浓墨重染，身形劲健，昂首侧目，似在静听流泉之声。\n\n动静相映间，将猛兽的悍勇与山林的幽寂相融。笔墨干湿浓淡变化自如，以写意山水衬走兽之态，工写结合，既具文人水墨的清雅韵致，又精准捕捉雄狮的沉雄威仪，尽显山林间的生息意趣与笔墨灵韵。",[7,209,23,225,173,400,808,176,466,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67fb63370229788ee8f454348ec5929e.jpg",[],{"id":66902,"slug":66903,"title":66904,"dynasty":277,"author":278,"museum":311,"description":66905,"tags":66906,"thumbUrl":66907,"material":2164,"size":2165,"collection":139,"collections":66908,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230556,"ba-jiao-ye-yu-tu-ri-ben-shi-ting-shi-dai-yi-ming-230556","芭蕉夜雨图-日本室町时代","轻烟晕染远山淡影，茅庐偎依芭蕉古松，板桥隐没于空蒙水雾间，将秋夜听雨的清寂铺展于卷上。湿冷的潮气仿佛浸透纸面，夜雨敲打着芭蕉叶，声声都揉着羁旅幽愁。\n\n整幅以画载情，上部题满唱和诗书，笔墨错落间，将寒宵孤坐的怅惘与同侪酬和的共情融为一体，书画相映，把蕉下听雨的清冷意绪，晕染得愈发绵长醇厚。",[7,23,24,173,177,178,86,263,29,806,384,3020,734,282,385,2279,30910,22123,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff965d35070656840bce03fd2737af2ec.jpg",[],{"id":66910,"slug":66911,"title":66912,"dynasty":277,"author":278,"museum":311,"description":66913,"tags":66914,"thumbUrl":66915,"material":2164,"size":2165,"collection":139,"collections":66916,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},230549,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-1-yi-ming-230549","明清古画动物山水粉本图卷-1","此作以淡设色写就，竹枝蜿蜒横斜，两只绶带鸟栖于枝头，翎羽晕染细腻，尾羽舒展飘逸，姿态悠然自得。左侧浅绿晕染牡丹与湖石，花叶柔润秀雅，清润雅致。\n全作用笔清劲秀逸，线条勾勒简练精准，设色浅淡明净，无浓艳堆砌之意，尽显平和娴静的文人意趣。简淡笔墨间晕染出花木禽鸟的灵动生机，带着写生的鲜活意致，尽显传统花鸟的幽隽雅致之美。",[7,23,27,28,25,83,4272,369,370,759,84,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e497c2669ce7f84f921f5e8bdcf52d4.jpg",[],{"id":66918,"slug":66919,"title":66920,"dynasty":277,"author":52663,"museum":311,"description":52664,"tags":66921,"thumbUrl":66922,"material":2164,"size":2165,"collection":139,"collections":66923,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},230489,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-yi-ping-yun-gu-deng-yan-230489","安土桃山 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花下游乐图屏风-第一屏","画面留白疏朗，淡赭底色晕开空寂天地，将视线牢牢牵向倚杖的武士。衣装刻画细致入微，暗纹袍服配朱红镶边，腰间太刀沉敛，悄然点明武者身份，而松弛的姿态却消解了武家肃杀之气。\n\n足畔野草丛生，艳色小花点缀土坡，朴拙的山野景致柔化了硬朗的人物气质，刚健与春日元气相融。寥寥数笔便托出幽寂闲雅的氛围，将春日郊野漫步的松弛闲情晕染开来，带着侘寂的和风雅韵，把山野独游的悠然意趣藏进绢素之中。",[7,23,24,27,106,59,62,1003,299,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb29a0cdaa97e0c37df926aa818b14f.jpg",[],{"id":66933,"slug":66934,"title":66935,"dynasty":76,"author":278,"museum":311,"description":66936,"tags":66937,"thumbUrl":66938,"material":139,"size":139,"collection":139,"collections":66939,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230339,"luo-han-du-hai-tu-yi-ming-230339","罗汉渡海图","开篇海门轻启，仙娥探身，沧澜翻涌成涡，细密灵动的线条将水势浩渺汹涌尽显。罗汉们或乘龙踏浪，或引虎随行，奇妖异仆持械护法，红芒隐于周身，诡谲间不失神圣气象。\n\n后半段峰崖叠翠，古松虬劲，众罗汉缓行林间，或驻足对谈，或盥手小憩，神态悠然松弛。全卷工笔设色雅致清润，人物形貌各异，毛发衣褶分毫毕现，山海之景虚实相生，将渡海登岸的奇幻禅意晕染开来，叙事性与观赏性兼具，尽显仙佛绘卷的古典意趣。",[7,23,27,28,25,243,106,29,433,8436,808,37,34,176,3191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff86155df94a6033f55373ac4bdebf0ed.jpg",[],{"id":66941,"slug":66942,"title":66943,"dynasty":76,"author":66944,"museum":311,"description":66945,"tags":66946,"thumbUrl":66947,"material":139,"size":139,"collection":139,"collections":66948,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230230,"yu-he-qian-zhou-tu-feng-shi-230230","玉壑潜舟图","冯湜","以淡墨晕染铺就清寂氛围，嶙峋崖壁皴笔硬朗，留白处似凝着残雪，将山石厚重质感尽数托出。古木虬结于山坳，苍郁枝叶点染出虬劲生机，谷间飞瀑蜿蜒跌落，汇入澄澈寒潭。水畔茅舍扁舟隐于林麓水湄，暗合幽居潜隐之趣。\n\n整幅画虚实相生，笔力苍浑兼具秀润，融北派山水的雄浑厚重与江南山水的灵秀温婉于一体，将幽人避世的山居雅趣藏进层叠丘壑之间，尽显林泉清旷淡远的冬日雅境。",[7,23,27,177,29,734,282,34,558,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12cb8f5f31241c928127eed512ac175.jpg",[],{"id":66950,"slug":66951,"title":66952,"dynasty":76,"author":52931,"museum":311,"description":55968,"tags":66953,"thumbUrl":66954,"material":2164,"size":2165,"collection":139,"collections":66955,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},230200,"lin-kong-zhou-bei-yin-he-shao-ji-230200","临孔宙碑阴",[7,86,5405,105,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5453a79a86999fab5e32be660c7b24b2.jpg",[],{"id":66957,"slug":66958,"title":1462,"dynasty":76,"author":1563,"museum":311,"description":66959,"tags":66960,"thumbUrl":66961,"material":139,"size":139,"collection":139,"collections":66962,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},230183,"shan-shui-tu-hua-yan-230183","此作笔致秀逸清灵，以淡赭晕染层叠崖壁，勾勒垂落飞泉，孤松虬枝斜倚崖侧，疏朗带风。画中高士凭岩端坐，临流观瀑，尽显林泉高致。远景山峦淡晕朦胧，留白铺就空寂辽远的天地，将山野幽居的萧散之趣尽数铺陈。四周题跋密布，书画交融，更添文雅古意，把文人耽爱林泉、静悟山水的隐逸心境藏入尺幅之间，淡远空灵，尽显幽寂出尘的林下之风，将山水清旷与书卷雅韵相融，尽显高古清幽的隐逸之美。",[7,23,24,27,177,178,86,29,106,384,466,558,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb52b9cce7c0aec2faa81b9a65f6fa2.jpg",[],{"id":66964,"slug":66965,"title":66966,"dynasty":76,"author":66967,"museum":311,"description":66968,"tags":66969,"thumbUrl":66970,"material":139,"size":139,"collection":139,"collections":66971,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},230155,"lin-shi-qu-dun-gai-wu-da-cheng-230155","临师蘧敦盖","吴大澂","此作用笔沉厚匀净，将金文苍古与小篆端稳相融，消弭原生金文的错落朴拙，代之以匀整排布，尽显庙堂端凝气象。字形方整敦实，间架舒张合宜，字字如古鼎静置，静穆中裹挟浑朴古意。\n\n整幅行列齐整，气息醇厚静雅，既复刻古器铭文的金石质感，又融入端谨书风，笔墨晕开斑驳古意，将商周金文的沉雄内质，以工整雅致的笔法铺陈，尽显高古浑穆的金石气韵，观之如摩挲千年古器，恍见三代遗风。",[7,86,1163,105,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0191b9541a6b66ff48d56a74fbcacf97.jpg",[],{"id":66973,"slug":66974,"title":66975,"dynasty":76,"author":66976,"museum":311,"description":66977,"tags":66978,"thumbUrl":66979,"material":2164,"size":2165,"collection":139,"collections":66980,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230101,"zheng-xi-tu-hua-xin-guo-chao-zuo-230101","征西图（画芯）","郭朝祚","郭朝祚，号硕斋，生卒年月待考。",[7,23,24,25,27,28,29,106,150,4140,557,31,32765,2508,8195,558,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20e6b15f1e24c8782fd41f118467348.jpg",[],{"id":66982,"slug":66983,"title":66984,"dynasty":76,"author":7940,"museum":311,"description":66985,"tags":66986,"thumbUrl":66987,"material":139,"size":139,"collection":139,"collections":66988,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},229023,"hong-ye-bai-yun-tu-wang-hui-229023","红叶白云图","此作用浅绛设色铺就秋山胜景，远景山峦隐在烟岚之中，虚渺朦胧似笼轻纱，尽显山林悠远空寂。中景层峰叠翠，茂林深秀，山居幽藏其间，流泉隐隐透出山野生机。近岸丹枫点染，古木盘曲苍劲，白石映着清溪，村舍错落排布，漾出闲适悠然的田园意趣。\n笔墨兼工带写，干笔皴擦勾勒山体肌理，淡墨晕染铺就流云轻烟，设色清润雅致，将秋日山林明静温煦的氛围晕开，既有古法山水的沉静古意，又饱含鲜活的自然意趣，把秋山清远秀逸之韵娓娓绘就。",[7,23,225,29,27,177,2137,3596,176,34,108,109,35,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbb2a25874ce00d981fc9fd7c73488f.jpg",[],{"id":66990,"slug":66991,"title":66992,"dynasty":99,"author":37801,"museum":311,"description":66993,"tags":66994,"thumbUrl":66995,"material":139,"size":139,"collection":139,"collections":66996,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[7,23,24,25,27,28,1163,178,29,107,106,34,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":66998,"slug":66999,"title":67000,"dynasty":99,"author":7174,"museum":311,"description":67001,"tags":67002,"thumbUrl":67003,"material":139,"size":139,"collection":139,"collections":67004,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228399,"chi-bi-sheng-you-tu-juan-zhu-yun-ming-228399","赤壁胜游图卷","开卷是平远江景，淡墨晕染汀渚林峦，茅庐隐于烟霭疏树之间，清寂萧散，暗合夜游的幽旷意韵。后段行书铺陈全篇，开篇浓墨榜书造势，笔力沉厚雄奇，随后行笔渐趋舒展灵动，提按藏枯涩润秀之变，行气绵密贯通，将泛舟叩舷、酾酒临江的旷达心境，藏于笔锋流转之中。\n\n书画合璧，文辞、笔墨与画意融为一体，把夜游赤壁的浩渺襟怀，化作纸上烟岚与笔底波澜，尽显萧散狂逸的文人意趣，是书画互衬的精妙之作。",[7,23,24,25,173,178,86,29,174,34,263,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b52125cd618b3e7941437626cd79b.jpg",[],{"id":67006,"slug":67007,"title":67008,"dynasty":99,"author":67009,"museum":311,"description":67010,"tags":67011,"thumbUrl":67012,"material":139,"size":139,"collection":139,"collections":67013,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228396,"hua-niu-tu-juan-zhang-jun-du-228396","画牛图卷","张君度","此卷以水墨晕染群牛，情态鲜活灵动。或抵角相搏、野性尽显，或信步缓行、憨态可掬，或卧地慵憩、悠然自得，搭配随性牵引的牧童，将乡野牧歌的闲逸日常铺陈开来。\n\n笔墨极简却形神兼备，淡墨晕出蓬松皮毛，浓墨勾勒犄角蹄足，寥寥数笔便将水牛的厚重朴拙尽显。题跋书法与绘事相映，诗画合璧，文心与画趣交融。构图疏密张弛有度，从群聚到散走过渡自然，将田园间的悠然意韵缓缓铺展，尽显文人写意的抒情特质，是兼具写生传神与寄兴抒怀的佳作。",[7,23,24,25,173,28,151,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456e6af9b7a3092979091028a8aeb964.jpg",[],{"id":67015,"slug":67016,"title":67017,"dynasty":99,"author":31173,"museum":206,"description":67018,"tags":67019,"thumbUrl":67020,"material":712,"size":59660,"collection":139,"collections":67021,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228339,"zeng-zheng-gong-du-shi-wang-duo-228339","赠郑公度诗","金山顶鸿飞阁。秋山晚更青，垂老探玄冥。 漠漠朝多雨，苍苍夜降灵。 菊醑无客醉，萧韵与猿听。 辗转怀萧爽，银河展幔亭。 告大次寒阳山趣 懒人山是与，长夏触心光。 已见碧桃实，空思紫草芳。 辑书蛇性善，抚轸鹤音凉。 劝汝勤鞅掌，白头养石房。 上烟欲行 何道能留汝，生涯正未穷。 围城榆鼓稻，花风叶雨戎。 漕自江淮转，人才邹鲁通。 片帆安可问，海气远天空。 阳山郊 浞浞寻香岫，傍傍过水门。 江帆（安何）所事，村柳自无喧。 客况空高埠，莺音似故园。 不闻何处去，悦悟在岩根。 石惠召自浒墅入大石山。登象鼻诸峰。 牢落江湖客，偏将梵服寻。 苟非同采药，不易有幽心。 蔚荟消诸霭，琴书閟一岑。 足音无亦好，蚓食保芳林。 崇祯皇帝十六载，寓孟庄山志园灯下，书狂作数首，公度郑词丈正之。 孟津王铎年五十二岁笔",[7,86,2570,178,25,173,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e866cd7553ecb789aa57fe9c56edd66.jpg",[],{"id":67023,"slug":67024,"title":67025,"dynasty":189,"author":278,"museum":311,"description":67026,"tags":67027,"thumbUrl":67028,"material":139,"size":139,"collection":139,"collections":67029,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228222,"qiu-lin-shan-zhuang-tu-ye-er-yi-ming-228222","秋林山庄图页二","此画以淡墨写就秋山幽居之景。萧疏枯木虬曲伸展，枝桠棱棱尽染清秋寥落之意，旁生细竹添得几分柔雅生机。山石以简笔勾勒，皴擦浅淡风骨清癯，崖畔栈道蜿蜒，板桥通连幽处茅舍，藏着山居闲逸。远景江天空阔，远山一抹轻晕，留白尽衬荒寒淡远。\n\n笔墨松秀简净，无过多繁饰，以简淡之形托出幽寂清远的林下意趣，将幽居山野的恬然与秋林清寂相融，尽显寄情林泉的文人雅怀，淡而韵长，简中见味。",[7,23,173,29,81,244,177,1423,866,226,229,108,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c54853a4977f83f600f2b3a3909c5df.jpg",[],{"id":67031,"slug":67032,"title":67033,"dynasty":189,"author":278,"museum":311,"description":67034,"tags":67035,"thumbUrl":67036,"material":139,"size":139,"collection":139,"collections":67037,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228211,"fang-mu-tu-yi-ming-228211","放牧图","以浓墨点染左侧垂柳，苍润枝叶随性舒展，余下大片淡墨留白铺就水泽，晕染出空濛悠然的郊野暮色。\n\n两头水牛一静一动，一者卧于水间，牧童伏背酣眠，恬然自适；一者垂首浅滩饮水，姿态松弛憨拙。全作以水墨写意，舍去繁缛刻画，以留白烘托萧散悠远的意境，将乡野放牧的日常闲趣，融于简淡笔墨之中，尽显平淡天真的隐逸意趣，把田园野趣与尚简重情的审美完美契合，尽显小品画的灵动生机与悠远情致。",[7,209,23,24,173,28,151,384,282,1003,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa8ce8aadda59dc845081b49d325826.jpg",[],{"id":67039,"slug":67040,"title":67041,"dynasty":189,"author":67042,"museum":311,"description":67043,"tags":67044,"thumbUrl":67045,"material":139,"size":139,"collection":139,"collections":67046,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228178,"zhi-chen-zhi-shu-zha-liu-ji-yi-228178","致陈植书札","刘继益","这帧手札行书随性疏朗，带着元代文人特有的散逸意趣。书写毫无刻意雕琢之感，起笔灵动率意，收笔朴拙厚重，枯湿浓淡随兴生发，字势顾盼有情，牵丝映带间尽显书写时松弛自然的心境。\n\n作为日常尺牍，笔墨随着心绪流转，将家常絮语落于笔端，亲昵真挚的思绪藏在笔墨细节之中。纸面带着岁月晕染的痕迹，为这件小品更添古雅质感，既承载着尺牍的温度，也尽显元代行书简淡萧散的美学品格，是文人以书寄情的典型佳作。",[7,86,178,173,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1967c732a38e778625d4b69409578904.jpg",[],{"id":67048,"slug":67049,"title":67050,"dynasty":189,"author":278,"museum":311,"description":67051,"tags":67052,"thumbUrl":67053,"material":2164,"size":2165,"collection":139,"collections":67054,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228009,"ren-wu-tu-ye-yi-ming-228009","人物图页","画面古绢虽蒙尘斑驳，却难掩笔墨意韵。简劲线条勾勒出二人情态：立者头戴展脚幞头，宽袍博带，身姿端凝肃穆，俨然朝堂士人；跪者低眉躬身，奉盘以侍，神态恭谨入微，礼制尊卑尽显无疑。\n\n设色清淡古雅，构图疏朗留白，以简驭繁，不带过多雕琢，尽显写意风神，将古时朝谒的肃穆氛围悄然烘托。旁侧题字更添文气，残旧肌理晕染出古拙沉静的岁月质感，让观者恍然窥见往昔礼制中的肃穆片刻。",[7,23,24,81,27,244,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3786f1cd663d8679a41d7c12d326c928.jpg",[],{"id":67056,"slug":67057,"title":67058,"dynasty":18,"author":37550,"museum":311,"description":67059,"tags":67060,"thumbUrl":67061,"material":2164,"size":2165,"collection":139,"collections":67062,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},227940,"shi-liu-ying-zhen-tu-quan-juan-fan-long-227940","十六应真图全卷","描绘的正是十六位罗汉在传法和生活的情景。应真是佛教中的罗汉，十六应真均是释迦牟尼的弟子，佛经上说他们常驻人间，受供养又为世人谋福音。画面上的十六位罗汉形态逼真，各具神采，他们有的经禅祐坐，有的净发挑耳，憨态可掬的笑容，怡然自得的神态，整幅画面宁静祥和，特别是罗汉自在超然的气质神韵跃然纸上。",[7,23,25,244,28,243,106,1365,176,32793],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd10268ecf905a9121bc8da42041b337.jpg",[],{"id":67064,"slug":67065,"title":29940,"dynasty":18,"author":278,"museum":311,"description":67066,"tags":67067,"thumbUrl":67068,"material":139,"size":139,"collection":139,"collections":67069,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227929,"shi-jia-chu-shan-tu-yi-ming-227929","此作用淡墨枯笔写就，人物清癯削瘦，眉宇沉静淡然，带着苦修出山后的疏朗出尘气质。衣纹以淡墨晕染结合简括线条，轻写布料垂坠质感，不着浓艳，尽得简淡高古之趣。\n画面搭配题诗，将雪山苦修的清寒禅味融于笔墨间，笔意萧散简远，以极简笔墨勾勒出超脱物外的禅宗意境，淡墨氤氲里禅意流淌，尽显空灵静谧的出世之美。",[7,23,24,225,243,244,106,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6b6f10f22e8ca496408d6bf4bff597.jpg",[],{"id":67071,"slug":67072,"title":67073,"dynasty":18,"author":278,"museum":311,"description":67074,"tags":67075,"thumbUrl":67076,"material":139,"size":139,"collection":139,"collections":67077,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227874,"liu-tang-xun-ju-tu-yi-ming-227874","柳塘寻句图","画面以淡墨晕开江南水滨的烟霭，近处柳林浓荫偃伏，柔条垂覆浅汀，水面浮着点点菱荇，漾着清寂的闲意。远山以轻毫扫出轮廓，融在空蒙水雾之中，恍若化入淡远烟岚。汀渚一隅隐着渔舟，似有幽人独伫，将寻句的幽谧心境沉在湖光柳色里。\n\n全幅以留白造境，笔墨简淡却意蕴悠长，将林泉雅意收在尺幅之间，尽显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[7,23,24,209,27,173,28,29,1322,4208,227,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":67079,"slug":67080,"title":67081,"dynasty":18,"author":278,"museum":311,"description":67082,"tags":67083,"thumbUrl":67084,"material":139,"size":139,"collection":139,"collections":67085,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[7,23,24,1004,81,1352,173,27,136,137,781,4152,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":67087,"slug":67088,"title":67089,"dynasty":18,"author":278,"museum":311,"description":67090,"tags":67091,"thumbUrl":67092,"material":139,"size":139,"collection":139,"collections":67093,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":255},227855,"shan-yao-lou-guan-tu-ye-yi-ming-227855","山腰楼观图页","此作以水墨绘危峰陡立，云雾如纱空蒙，将山体半隐，仅留山腰楼宇静踞林麓。以斧劈皴利落勾勒山石筋骨，墨色由浓转淡晕染烟岚，虚实相生衬出幽谷空寂幽深。\n\n咫尺扇面以少胜多，尽显简淡空灵意趣，将林泉高致藏在淡墨轻岚间。题诗与画境呼应，把寻仙慕隐的出世之思融于山水，淡远清逸，观之如临其境，似可凭栏观山、静听穿林风声，幽远超脱的山居雅境跃然绢上。",[7,23,24,1352,29,107,176,34,104,177,27,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F274facbfdb6c3c7e5bdce52d2bca3976.jpg",[],{"id":67095,"slug":67096,"title":67097,"dynasty":18,"author":278,"museum":311,"description":67098,"tags":67099,"thumbUrl":67100,"material":139,"size":139,"collection":139,"collections":67101,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[7,209,23,24,4850,1352,27,178,177,104,29,107,30,34,37,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":67103,"slug":67104,"title":67105,"dynasty":18,"author":47525,"museum":311,"description":67106,"tags":67107,"thumbUrl":67108,"material":139,"size":139,"collection":139,"collections":67109,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227760,"shou-zha-yi-tong-wu-ting-jiu-cang-zhu-xi-227760","手札一通(吴廷旧藏)","从“收藏”角度而言，“书札”固然是“尺牍”之义，却是指广义的，内中是包括了一些笔记、题辞、手稿、札记、公牍、讣告、收条、请帖、名刺、板报等等种种纷繁的“杂多”形式。换言之，“书札”是纷繁的搜藏项目的一种概括。",[7,86,178,263,7330,18,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca39154fd519ae1621c215f93bcd271.jpg",[],{"id":67111,"slug":67112,"title":67113,"dynasty":18,"author":278,"museum":311,"description":56113,"tags":67114,"thumbUrl":67115,"material":139,"size":139,"collection":139,"collections":67116,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227360,"zhan-dao-heng-lv-tu-ye-yi-ming-227360","栈道行旅图页",[7,23,209,24,4850,27,29,1422,106,150,865,176,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":67118,"slug":67119,"title":67120,"dynasty":18,"author":278,"museum":311,"description":67121,"tags":67122,"thumbUrl":67123,"material":139,"size":139,"collection":139,"collections":67124,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":629},227349,"xuan-he-dian-shuang-an-tu-yi-ming-227349","宣和殿双安图","北宋皇宫建筑之一，前后经历始建重建，后称保和殿，用以藏书藏画，北宋皇室三大藏书处所之一。著名的《宣和书谱》、《宣和画谱》都与此殿关系密切。",[7,209,23,24,27,28,83,8304,692,4272,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0812227ecaac5bde35609c91e6acc901.jpg",[],{"id":67126,"slug":67127,"title":67128,"dynasty":18,"author":278,"museum":311,"description":67129,"tags":67130,"thumbUrl":67131,"material":139,"size":139,"collection":139,"collections":67132,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[7,23,24,81,1352,173,27,28,29,175,283,34,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":67134,"slug":67135,"title":67136,"dynasty":18,"author":67137,"museum":311,"description":67138,"tags":67139,"thumbUrl":67140,"material":139,"size":139,"collection":139,"collections":67141,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":255},227297,"shu-guang-zong-ti-yang-bu-zhi-hong-mei-tu-shi-li-zong-227297","书光宗题杨补之红梅图诗","理宗","宋理宗赵昀（1205年1月26日－1264年11月16日），初名赵与莒，后改名赵贵诚，绍兴府山阴县（今浙江绍兴）人，宋朝第十四位皇帝（1224年9月17日—1264年11月16日在位），南宋第五位皇帝。宋太祖赵匡胤十世孙，赵德昭九世孙。 [1-2]\n嘉定十五年（1222年），被立为宋宁宗弟沂王嗣子，赐名贵诚。嘉定十七年（1224年），立为宁宗皇子，赐名昀。 [3] 宋宁宗死后，赵昀被权臣史弥远拥立为帝。赵昀继位的前十年都是在权相史弥远挟制之下，自己对政务完全不过问，自己则尊崇理学，纵情声色，直到绍定六年（1233年），史弥远死后，赵昀才开始亲政。他亲政之初立志中兴，采取罢黜史党、亲擢台谏、澄清吏治、整顿财政等改革措施，史称“端平更化”。端平元年（1234年），派兵联蒙灭金。同年出兵收复三京，但以失败告终，次年（1235年）蒙古大汗窝阔台以宋朝背约为由，全面侵宋，持续四十多年的宋蒙战争爆发。晚年赵昀又沉湎于醉生梦死的荒淫生活中，朝政相继落入丁大全、贾似道等奸相之手，国势急衰。\n景定五年（1264年），赵昀在临安去世，在位四十一年，仅次于仁宗，享年六十岁。谥号建道备德大功复兴烈文仁武圣明安孝皇帝，庙号理宗。葬于永穆陵",[7,23,24,1352,178,263,402,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ab459a45ebc90b3709cbd648351953.jpg",[],{"id":67143,"slug":67144,"title":67145,"dynasty":54,"author":278,"museum":311,"description":67146,"tags":67147,"thumbUrl":67149,"material":2164,"size":2165,"collection":139,"collections":67150,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227228,"fo-jing-wan-nai-liang-shi-qi-shi-bian-yi-ming-227228","佛经 晚奈良时期饰边","日本写经史的最辉煌时期，应是在奈良时代（公元710-794）。此时中国为盛唐时期，日本因积极学习唐文化，从而建立了相对完备的政治集权，经济、文化也盛象空前。\n公元717年，日本留学僧玄昉随第八次遣唐使入唐（吉备真备为此次遣唐使团的正使），734年留学近18载归国。此时的日本王室将佛教视作“镇护国家之要法”，有意大兴佛事；而留学僧玄昉从中国携带大量佛像及五千多卷大藏经回国传播，由此二者为因，促进了日本国内书写大藏经的流行。因此奈良时代到平安中期也被公认为日本重要的写本时代。这期间的写经数量较大、书风高古。",[7,243,5152,621,24,67148],"饰边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F364009bf62e3678c0dbaab313a0468f7.jpg",[],{"id":67152,"slug":67153,"title":67154,"dynasty":5401,"author":278,"museum":311,"description":45312,"tags":67155,"thumbUrl":67156,"material":2164,"size":2165,"collection":139,"collections":67157,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227036,"dong-wei-zhang-man-mu-zhi-bing-gai-yi-ming-227036","东魏张满墓志并盖",[7,620,86,1163,621,5406,54539,25111,56124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fd1d4e0fd90ae09826f3e302abe5cd.jpg",[],{"id":67159,"slug":67160,"title":67161,"dynasty":5401,"author":278,"museum":311,"description":35946,"tags":67162,"thumbUrl":67163,"material":2164,"size":2165,"collection":139,"collections":67164,"showCount":5,"zanCount":2209,"manualWeight":48,"mainColor":49},226540,"kao-wei-wei-zhen-hou-can-shi-yi-ming-226540","考卫尉贞侯残石",[7,5404,86,620,5405,5406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa683d821fcb194aa10bc8f3c1b211251.jpg",[],{"id":67166,"slug":67167,"title":67168,"dynasty":76,"author":7940,"museum":311,"description":67169,"tags":67170,"thumbUrl":67171,"material":139,"size":139,"collection":139,"collections":67172,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[7,23,24,225,173,177,403,2607,175,108,109,229,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":67174,"slug":67175,"title":67176,"dynasty":76,"author":7940,"museum":311,"description":67177,"tags":67178,"thumbUrl":67179,"material":139,"size":139,"collection":139,"collections":67180,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[7,23,25,27,29,177,28,32,34,33,770,10496,4272,3899,6005,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":67182,"slug":67183,"title":67184,"dynasty":76,"author":1215,"museum":311,"description":67185,"tags":67186,"thumbUrl":67187,"material":139,"size":139,"collection":139,"collections":67188,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224419,"shu-hua-shi-liu-kai-5-wang-shi-min-224419","书画十六开-5","此作以赭色绢本铺底，工写相融。白牡丹为画面眼目，淡墨勾瓣，轻施水色晕染，瓣层舒展如叠雪堆云，清腴柔妍，贵而不艳。枝上栖禽翎羽丝描细腻，赭黄、灰褐晕出绒泽，侧目望向花头，似正细嗅天香，灵动鲜活。枝叶以中锋写出，墨色分浓淡显向背，苍润秀雅。题字清雅疏朗，与画面气韵相合。整体娴静古雅，将工致与淡逸揉为一体，晕开春日清和里的幽淡意趣。",[7,23,24,81,28,27,83,369,370,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed52104fc84ec7accdec9de13fdf28db.jpg",[],{"id":67190,"slug":67191,"title":67192,"dynasty":76,"author":1215,"museum":311,"description":67193,"tags":67194,"thumbUrl":67195,"material":139,"size":139,"collection":139,"collections":67196,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[7,23,27,177,81,29,108,109,866,176,35,4272,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":67198,"slug":67199,"title":67200,"dynasty":76,"author":1584,"museum":311,"description":67201,"tags":67202,"thumbUrl":67203,"material":139,"size":139,"collection":139,"collections":67204,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224400,"ceng-yan-die-cui-wang-yuan-qi-224400","层岩叠翠","这幅山水以干笔积墨写就，山峦层叠开合，取深远章法铺陈丘壑。以干笔皴擦反复叠加墨色，从淡到浓层层积染，山石质感浑厚苍润，尽显沉雄静穆之气。\n山道蜿蜒藏露，溪涧顺势穿林而过，林木错落穿插其间，山居人家隐于深谷，暗合幽寂野趣。笔墨承元人遗韵又自出机杼，于细碎皴染间，将山川郁茂生机与沉静浑融的意蕴合为一体，尺幅之中带着大山大水的苍郁气象，尽显正统山水画的笔墨风骨。",[7,23,24,464,177,14857,22980,81,176,34,109,466,469,4970,266,473,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7750b4b0b146fdc1e4a74f70bc9e63.jpg",[],{"id":67206,"slug":67207,"title":67208,"dynasty":76,"author":1584,"museum":311,"description":67209,"tags":67210,"thumbUrl":67211,"material":139,"size":139,"collection":139,"collections":67212,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[7,23,24,29,225,27,177,734,282,34,1365,558,108,468,37,1087],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":67214,"slug":67215,"title":67216,"dynasty":76,"author":1584,"museum":311,"description":67217,"tags":67218,"thumbUrl":67219,"material":139,"size":139,"collection":139,"collections":67220,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[7,209,23,24,225,27,29,176,34,1087,109,37,177,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":67222,"slug":67223,"title":67224,"dynasty":76,"author":15807,"museum":311,"description":67225,"tags":67226,"thumbUrl":67227,"material":139,"size":139,"collection":139,"collections":67228,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224362,"cheng-qin-wang-qing-yong-xing-shu-gao-zong-yu-zhi-si-shi-yan-qing-shi-zhou-ai-xin-jue-luo-yong-xing-224362","成亲王 清永瑆书高宗御制四时衍庆诗轴","此作用笔秀挺雅致，起收顿挫皆具法度，点画间顾盼有情，将馆阁体的端谨妍美诠释尽致。瘦硬清逸的笔调融合赵书娟秀与馆阁规整，字字排布齐整，章法严整又不失灵动。书写之时笔墨自带恭谨庄重，尽显深厚帖学功底，规整之中暗藏内敛文人意趣，是清代馆阁体书法中的上乘佳构，尽显盛世书法的端雅风貌。",[7,23,24,225,178,1115,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d302552966b86feec697ace2f3a52b5.jpg",[],{"id":67230,"slug":67231,"title":67232,"dynasty":76,"author":67233,"museum":206,"description":67234,"tags":67235,"thumbUrl":67241,"material":712,"size":67242,"collection":139,"collections":67243,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224336,"shu-tang-zao-chao-shi-zhou-shen-quan-224336","书唐早朝诗轴","沈荃","长安雪后似春归。积素凝华连曙暉。色借玉珂迷晓骑。光添银烛晃朝衣。西山落月临天仗。北闕晴雲捧禁闈。闻道仙郎謌白雪。由来此曲和人稀。",[7,86,178,225,1775,18917,18916,9574,2279,67236,67237,67238,67239,67240],"玉珂","晓骑","落月","晴天","素凝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc24a6329eb390923142ba879d23e688.jpg","322.5×48.5cm",[],{"id":67245,"slug":67246,"title":67247,"dynasty":76,"author":35974,"museum":311,"description":67248,"tags":67249,"thumbUrl":67250,"material":139,"size":139,"collection":139,"collections":67251,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224335,"shi-gu-qi-niu-tu-zhou-yang-jin-224335","石谷骑牛图轴","浅设色绘就水滨春野，水牛信步徐行，背脊上的宽袍老者斜倚安坐，斗笠覆顶，垂目敛神，一派萧散恬然。\n\n水牛造型朴拙写实，晕染细腻还原皮毛质感，人物衣纹简练秀雅，淡赭敷色清润柔和。通幅布景极简，只以柔线勾勒浅草坡岸，留白尽显空濛野趣。搭配多段题诗，书画合璧，将文人逸隐林泉、不慕荣利的襟怀融于笔墨间，简淡天真，尽显出世幽怀，是以画寄意的文人画佳构。",[7,23,24,225,173,106,151,86,178,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86733bb6975257e03883c9a818dc1e29.jpg",[],{"id":67253,"slug":67254,"title":67255,"dynasty":76,"author":1929,"museum":311,"description":67256,"tags":67257,"thumbUrl":67258,"material":139,"size":139,"collection":139,"collections":67259,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224325,"hua-niao-shi-er-kai-3-li-shan-224325","花鸟十二开3","此作以淡墨晕染雀鸟翎羽，绒毛细密质感尽显，小雀侧首凝神，灵动野趣跃然纸上。竹枝以浓淡墨色挥写，叶片俯仰错落，笔致纵逸萧散，尽显清劲风骨。诗书与绘事相融，题字欹斜错落，文气萦绕画面。整作笔简意赅，将花鸟生趣与文人幽思揉合，以意写形不拘成法，墨色干湿互衬，寥寥数笔便勾勒出江乡小景的幽寂意韵，尽显随性疏朗的文人画风骨。",[7,23,24,81,173,27,83,226,370,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476aad52c5f6bd95cc590c2a2bb64743.jpg",[],{"id":67261,"slug":67262,"title":67263,"dynasty":76,"author":1929,"museum":311,"description":67264,"tags":67265,"thumbUrl":67266,"material":139,"size":139,"collection":139,"collections":67267,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224302,"hua-hui-shi-er-kai-3-li-shan-224302","花卉十二开3","此作以淡赭挥写竹杆，枯涩灵动间尽显苍劲挺拔之态，墨色浓淡晕染牵牛花瓣，蓝紫清妍鲜活，翠色叶片交叠错落，将朝颜娇柔生机尽数铺陈。\n\n行书题字欹侧跌宕，笔意率性不羁，与画作写意野趣相得益彰，诗书合璧尽显文人随性酣畅。整幅以简驭繁，脱略形似而神完气足，将篱间牵牛绕竹的夏日清趣揽于尺幅之间。笔底带着鲜活生机，尽显不拘成法、师法自然的写意精神，寥寥数笔便勾勒出花草疏野雅致，淡冶中见风骨，寻常小景溢出悠然林下之致。",[7,23,24,81,27,173,83,84,606,607,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b41f8a92c4e3e7a9a030332fa62736.jpg",[],{"id":67269,"slug":67270,"title":67271,"dynasty":76,"author":29211,"museum":311,"description":67272,"tags":67273,"thumbUrl":67274,"material":139,"size":139,"collection":139,"collections":67275,"showCount":5,"zanCount":2209,"manualWeight":48,"mainColor":94},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[7,23,24,173,177,81,29,34,176,35,1265,10431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":67277,"slug":67278,"title":67279,"dynasty":76,"author":278,"museum":311,"description":67280,"tags":67281,"thumbUrl":67282,"material":139,"size":139,"collection":139,"collections":67283,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224241,"fu-gui-shuang-quan-tu-yi-ming-224241","富贵双全图","此作以工笔重彩绘就，石上瑞禽翎羽妍丽华贵，尾屏铺陈如曳地织锦，眼斑历历分明，身姿舒展振翅，雄健灵动恍似将引吭长啼。石下名花雍容绽放，紫艳朱红缀于翠叶间，与苍奇湖石相映成趣。花叶勾勒细腻入微，敷色明润雅致，晕染过渡自然柔和。\n\n整幅疏密相宜，重工轻写兼具，既有院体画的精工富丽，又暗含文人雅韵，以瑞禽名花寄寓吉庆意涵，笔致间尽显雍和雅致的太平气象。",[7,23,24,225,28,27,83,297,369,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357232fb0e7e36d29e9bf562a2612aa2.jpg",[],{"id":67285,"slug":67286,"title":67287,"dynasty":76,"author":36665,"museum":311,"description":36666,"tags":67288,"thumbUrl":67289,"material":2164,"size":2165,"collection":139,"collections":67290,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224165,"lin-su-shi-du-zi-mei-shi-zhou-wang-you-dun-224165","临苏轼杜子美诗轴",[7,23,24,225,105,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fb18ffc17420be425cadef9d8ced6a.jpg",[],{"id":67292,"slug":67293,"title":67294,"dynasty":76,"author":67295,"museum":311,"description":67296,"tags":67297,"thumbUrl":67298,"material":139,"size":139,"collection":139,"collections":67299,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224155,"hua-shan-mei-hua-ce-zhang-zhao-224155","画扇梅花册","张照","上幅行书圆劲秀逸，笔墨温润舒展，词句咏梅寄怀，文思与笔意相得益彰，自带清雅书卷气。下幅墨梅以淡墨写枝，浓墨点花，清瘦枝桠错落舒展，寒梅数朵绰约含香，不着艳色却尽得冰清之姿。留白空寂悠远，尽显文人画以意取胜的韵致。\n\n双扇合璧，书画相映，将爱梅赏梅的雅趣融于尺幅之间，以简约笔墨勾勒花木品格，暗合文人心性，尽显冲淡闲和的林下之风，是意趣隽永的文人抒情小品。",[7,23,24,1352,81,402,86,178,263,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda413448615adeaf8857bb9601f5a07.jpg",[],{"id":67301,"slug":67302,"title":67303,"dynasty":99,"author":278,"museum":311,"description":67304,"tags":67305,"thumbUrl":67306,"material":139,"size":139,"collection":139,"collections":67307,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},223682,"feng-yu-po-zhou-tu-yi-ming-223682","风雨泊舟图","此作以淡墨晕染出空濛雨意，水雾裹挟秋意漫过江天。近岸怪石虬松相错，丹红枝叶点破深褐苍翠，晕开晚秋暖色。远山隐在烟霭中，只露嶙峋半截，将天地晕成一片苍茫。\n\n江面上薄雾横生，泊岸的舟楫静立，远水处孤帆在烟浪里浮沉，尽写羁旅之人待雨歇的怅惘。画师以虚实相生之法，将风雨欲来的沉郁秋江铺展开，淡墨轻皴晕出湿冷空寂的氛围感，把秋日羁泊的萧索意趣藏在烟水林峦之中。",[7,23,24,29,27,177,174,866,229,109,34,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04289f046947f163b3eebe5ac5d89837.jpg",[],{"id":67309,"slug":67310,"title":67311,"dynasty":18,"author":278,"museum":311,"description":67312,"tags":67313,"thumbUrl":67314,"material":139,"size":139,"collection":139,"collections":67315,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223675,"shuang-you-han-chu-tu-yi-ming-223675","霜莜寒雏图","《宋人画霜篠寒雏图》是宋代佚名创作的绢本设色画。\n5只 集于枯棘上，姿势各异，神态如生。\n枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。\n画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。\n文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。\n此图原载《宋人集绘册》。\n图绘家雀五只栖止于枯棘上，右下侧衬以双钩翠竹。\n五只 的神态，刻画极为精工。\n麻雀窃窃私语的神情，欲飞未飞的动态，以及它们茸茸的羽毛，圆而有神的眼睛，描绘得栩栩如生，使人感到如闻其声，如入其境。\n图中竹页用双钩，然后用花青、汁绿渲染，竹竿用白描，荆棘以一笔出之。\n小鸟勾出轮廓后用细笔丝出羽毛，具有毛茸茸的质感。\n此图无作者宽印，钤「宋荦审定」一印。\n本幅无款。\n鉴藏印钤“宋荦审定”。\n裱边题签：“宋人画霜篠寒雏”。\n经清代收藏家宋荦鉴藏，见《石渠宝笈三编》著录。",[7,209,23,28,27,83,370,226,7803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa796d5d8ac8e342dc30faa9a1bfe80fb.jpg",[],{"id":67317,"slug":67318,"title":67319,"dynasty":18,"author":278,"museum":311,"description":67320,"tags":67321,"thumbUrl":67322,"material":139,"size":139,"collection":139,"collections":67323,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223659,"wen-chuan-tu-juan-yi-ming-223659","问喘图卷","此作用淡墨白描写就，右侧古木虬劲苍郁，浓墨点簇枝叶，衬出林间幽寂。画面左侧水畔空濛悠远，平沙浅滩愈发衬出乡野静穆。\n\n画中士人抬手问询，田夫敛袖作揖应答，神态恳切自然，身后侍童恭立持扇，氛围悠然庄重。耕牛垂首缓行，身姿朴拙生动，将典故融于乡野实景。\n\n构图疏密相宜，淡墨晕染水色空濛，简练线条精准勾勒人物神情与物态，设色简淡素雅，尽显清雅意趣，暗含体恤民生的古韵深意，平淡画面间尽显含蓄悠远的古典风雅。",[7,23,25,244,27,263,106,151,384,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae80987d2d826d7b80a5a3b01b261be.jpg",[],{"id":67325,"slug":67326,"title":17654,"dynasty":18,"author":278,"museum":311,"description":67327,"tags":67328,"thumbUrl":67329,"material":139,"size":139,"collection":139,"collections":67330,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[7,209,23,24,1218,67,27,3202,177,34,1322,770,176,2310,3660,106,1265,3899,1079,118,29926,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":67332,"slug":67333,"title":67334,"dynasty":99,"author":278,"museum":101,"description":67335,"tags":67336,"thumbUrl":67337,"material":573,"size":24803,"collection":139,"collections":67338,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223574,"mu-yang-tu-yi-ming-223574","牧羊图","绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼。",[7,23,1352,27,106,6545,384,24801,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d76828bbf7925e25c75ff00155b1967.jpg",[],{"id":67340,"slug":67341,"title":67342,"dynasty":18,"author":278,"museum":20,"description":67343,"tags":67344,"thumbUrl":67346,"material":67,"size":67347,"collection":139,"collections":67348,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},223507,"song-yin-xian-qi-tu-yi-ming-223507","松荫闲憩图","绘一老者倾躺在斜坡上小憩，高戴高帽，满脸皱纹，长须及胸，右臂枕于头下，双腿蜷缩，安详的享受自然之景；四周杂草蓬勃生长，上方松木遮阳，松针细长繁多，藤条自松枝上垂下。",[7,23,24,9700,1004,173,27,28,106,403,67345],"闲憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5060744d24e47c5354270e434f38253.jpg","22x54",[],{"id":67350,"slug":67351,"title":67352,"dynasty":18,"author":278,"museum":206,"description":67353,"tags":67354,"thumbUrl":67355,"material":573,"size":67356,"collection":139,"collections":67357,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},223429,"wu-kuan-xi-pang-xian-hua-yi-ming-223429","无款溪旁闲话","前景岩石矗立于溪旁，岩壁松树垂下，间杂着红叶、绿萝。岸上士人，拱手与渔夫问答。渔父持竿压着膝盖，稳坐船头倾听。渔父将脚深入水中，与「沧浪之水浊兮，可以濯吾足」文字叙述吻合，所画或是《楚辞》〈渔父〉。此画小斧劈皴刚劲犀利，传达出山石的坚硬嶙峋，不失为十三世纪佳作。本幅选自《宋人集绘册》第五开。",[7,23,27,28,81,106,109,174,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc5abf621abb036630676a076c87c6e.jpg","25.7x23.6厘米",[],{"id":67359,"slug":67360,"title":67361,"dynasty":76,"author":278,"museum":206,"description":31698,"tags":67362,"thumbUrl":67363,"material":139,"size":139,"collection":139,"collections":67364,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223412,"ma-zu-qi-ji-c-yi-ming-223412","妈祖奇迹C",[7,23,27,28,104,243,106,149,3191,37,3660],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bdb2f2246419402205f91e670b372b.jpg",[],{"id":67366,"slug":67367,"title":67368,"dynasty":54,"author":16652,"museum":311,"description":16653,"tags":67369,"thumbUrl":67370,"material":699,"size":2164,"collection":139,"collections":67371,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},223389,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-5-bai-ju-yi-223389","古抄残卷《白氏文集》第三巻第四5",[7,10270,86,25,621,5153,5152,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dced12f884905a25a266f1e0403bdf.jpg",[],{"id":67373,"slug":67374,"title":67375,"dynasty":18,"author":278,"museum":20,"description":67376,"tags":67377,"thumbUrl":67378,"material":573,"size":67379,"collection":139,"collections":67380,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223334,"si-lun-tu-yi-ming-223334","丝纶图","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[7,23,24,225,173,27,177,29,866,3024,106,34,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b414ad5d3ac5d537b5cf0676affa9d4.jpg","纵83.2厘米横37.5厘米",[],{"id":67382,"slug":67383,"title":67384,"dynasty":76,"author":12204,"museum":7116,"description":56324,"tags":67385,"thumbUrl":67387,"material":841,"size":56327,"collection":139,"collections":67388,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},223314,"fa-jie-yuan-liu-tu-juan-8-ding-guan-peng-223314","法界源流图卷-8",[7,23,24,25,243,28,27,106,1365,4272,176,34,245,67386,300],"兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79abe8c8eb4e0f02acfd507fe752e49e.jpg",[],{"id":67390,"slug":67391,"title":67392,"dynasty":76,"author":12204,"museum":7116,"description":56324,"tags":67393,"thumbUrl":67395,"material":841,"size":56327,"collection":139,"collections":67396,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6",[7,23,24,25,28,27,243,106,175,1365,17531,1554,7386,67394,245,18311,4636,12208,6728,3609],"宝盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg",[],{"id":67398,"slug":67399,"title":67400,"dynasty":76,"author":18846,"museum":311,"description":18847,"tags":67401,"thumbUrl":67402,"material":699,"size":139,"collection":139,"collections":67403,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},223266,"shou-jie-fa-lve-li-hong-yi-fa-shi-223266","受戒法略例",[7,86,5152,621,178,263,5153,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef577175a703850e5461d03d1409a1f.jpg",[],{"id":67405,"slug":67406,"title":67407,"dynasty":76,"author":32309,"museum":311,"description":32310,"tags":67408,"thumbUrl":67410,"material":699,"size":32313,"collection":139,"collections":67411,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},223127,"shu-hua-ce-ye-sheng-gui-zhuang-223127","《书画册页》-胜",[7,86,81,173,178,263,67409,24],"洒金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8abe8c8c332531c7135d828bfdb4ef0.jpg",[],{"id":67413,"slug":67414,"title":67415,"dynasty":76,"author":22959,"museum":206,"description":27583,"tags":67416,"thumbUrl":67417,"material":712,"size":67418,"collection":139,"collections":67419,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴",[7,23,24,225,28,177,27,86,263,178,29,106,35,34,176,865,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":67421,"slug":67422,"title":67423,"dynasty":76,"author":14925,"museum":20,"description":67424,"tags":67425,"thumbUrl":67426,"material":67,"size":67427,"collection":139,"collections":67428,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},223099,"fang-fan-kuan-shan-shui-zhou-tang-dai-223099","仿范宽山水轴","此画作者采用全景似的构图，使近、中，远景层次分明，中心突出。\n远景山峦重叠，主峰矗立，气势雄伟，山巅间烟云缭绕，云气弥漫，似浮起润泽的雾气；中景峰峦对峙，林木丛生，烟锁山腰，山坳中树木茂密，层次分明，满而不塞，两座秀丽的楼阁屋宇隐显于烟光浮动之中，寂静的山林更增添了幽邃之感。近处为坡石丛林，两坡石间高架有一座木桥，两山峡谷间溪水直流而下，汇聚于溪水之中，左侧溪水边，座落着几间房舍，掩映在浓密的丛树荫底",[7,23,24,225,29,105,177,173,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe688d58fa90bd041577c62dc09e8dbba.jpg","155.3x74.4",[],{"id":67430,"slug":67431,"title":67432,"dynasty":76,"author":14888,"museum":1406,"description":27113,"tags":67433,"thumbUrl":67434,"material":6350,"size":31751,"collection":139,"collections":67435,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},222656,"zhi-hua-xi-lie-zhi-hua-qi-feng-gao-qi-pei-222656","指画系列-指画·齐峰",[7,23,24,27115,173,47000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb349cd1f36f10023c8e91641daed33.jpg",[],{"id":67437,"slug":67438,"title":67439,"dynasty":76,"author":14888,"museum":1406,"description":27113,"tags":67440,"thumbUrl":67441,"material":6350,"size":31751,"collection":139,"collections":67442,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},222652,"zhi-hua-xi-lie-zhi-hua-zhu-xi-gao-qi-pei-222652","指画系列-指画·竹溪",[7,27115,173,226,468,34,1128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde50c2552559fadc928067e60eecddd0.jpg",[],{"id":67444,"slug":67445,"title":67446,"dynasty":76,"author":14888,"museum":1406,"description":27113,"tags":67447,"thumbUrl":67448,"material":6350,"size":31751,"collection":139,"collections":67449,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},222650,"zhi-hua-xi-lie-zhi-hua-bai-lu-gao-qi-pei-222650","指画系列-指画·白鹭",[7,23,24,27115,173,1194,266,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ac7296b9da2dfb2f4c6c22e8d5602.jpg",[],{"id":67451,"slug":67452,"title":67453,"dynasty":76,"author":14888,"museum":1406,"description":27113,"tags":67454,"thumbUrl":67455,"material":6350,"size":31751,"collection":139,"collections":67456,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},222648,"zhi-hua-xi-lie-zhi-hua-ju-gao-qi-pei-222648","指画系列-指画·橘",[7,23,24,27115,173,81,4950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fee651e58835cf503e11cca698a871d.jpg",[],{"id":67458,"slug":67459,"title":67460,"dynasty":99,"author":31173,"museum":583,"description":67461,"tags":67462,"thumbUrl":67466,"material":699,"size":67467,"collection":139,"collections":67468,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},222535,"zi-shu-shi-hu-wu-shou-juan-wang-duo-222535","自书石湖五首卷","释文：石湖 物心流水会，草外即平皋。怀土佳兵厌，占云挟雨高。学狂希羽客，引笑佐溪毛。幽影皆为象，前滩响莫涛。瓜州大慈庵夏望 吾择慈庵寂，焚香起正心。杖因江稻植，山在寺门寻。楚越中区抱，金焦大壑深。紫天开素气，鸦路意阴阴。 贺九山村已遇枇杷熟，频过碌石园。远柯兼瀑影，古凸自柴门。骨傲仍多性，兰衰尚有根。昌阳飞半腹，石穴共寒温。 问牧斋拂水山崖 欲履虞山迳，还赊六尺筇。思君偕寤语，似共万溪松。桂酒留华榭，天门落古镛。可知头尽皓，更得扰玄龙。 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横102.4cm",[],{"id":67605,"slug":67606,"title":67607,"dynasty":189,"author":278,"museum":206,"description":67608,"tags":67609,"thumbUrl":67610,"material":573,"size":67611,"collection":139,"collections":67612,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},221780,"shuo-jing-tu-zhou-yi-ming-221780","说经图轴","元人少做道释画，但这幅“说经图”却画得十分精彩。此图共有三个部分，左右两幅各画四尊菩萨立像，中央一幅画佛祖释迦牟尼跌坐莲台，罗汉侍立左右。本幅是右边的一幅，构图位置与左边的一幅完全对称。菩萨衣饰华贵，容貌祥和，足下各踏莲花，凌空而立。其姿态各自不同，眼神都注视左前方，像是用心聆听佛法。画中用笔圆劲流畅，设色富丽古艳，颇有上追六朝人笔法之意。\n菩萨顶上放射光芒成一圆轮状，称之为“圆光”。颈上挂着的成串珠玉装饰，称之为“璎珞”。佩戴“璎珞”本是印度贵族男女，皆缀珠玉以为颈饰，梵文称为“枳由罗”，传到中国后则译为“璎珞”。看这四尊菩萨的面貌已经变为中土人士的容貌，而非胡貌梵像，便知这幅是宋以后的作品。",[7,209,23,24,225,243,106,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b0f34610241466257060249ffc3d82.jpg","95.4×52.9cm",[],{"id":67614,"slug":67615,"title":67616,"dynasty":189,"author":13710,"museum":206,"description":67617,"tags":67618,"thumbUrl":67619,"material":327,"size":67620,"collection":139,"collections":67621,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},221717,"hua-yuan-zhou-yan-hui-221717","画猿轴","此幅画挂岩老树，上着两猿，一猿抱干，一猿挂枝，树下画细腰蜂十四尾。两猿弄蜂，作好事而又畏缩之状；树枝挂猿，着重直垂而下，有低昂不定之势。画笔老辣，揣拟传神。另猿猴二字常连用，蜂与猴又和“封侯”谐音，故旧画中往往取此吉祥意义为题作画。\n悬崖树上，二猿攀爬。一只抱着树干，一只挂在枝梢，树枝因负重而下垂，犹有低昂摇摆之态。右下方有一蜂群，两猿目视，既惊又喜的表情，仿佛若现，意态甚是生动。中国画中常绘有猿猴（hou）和蜂（feng）的作品，目的在取“封侯”（feng 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古木的岁月沉淀之美。",[23,173,225,83,67985,865,285,400,10568,7],"猫头鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e5009b7b4b53f4c045cbc6a37fa8276.jpg",[90],"d0c1ab",{"id":67990,"slug":67991,"title":66305,"dynasty":32065,"author":3264,"museum":78,"description":67992,"tags":67993,"thumbUrl":67994,"material":139,"size":139,"collection":90,"collections":67995,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":67996},203150,"lan-shi-tu-zhou-pan-tian-shou-203150","这幅水墨兰石图，笔墨雄健老辣。兰草以劲挺线条写出，穿插有致，墨色浓淡相间，姿态舒展而富有张力；怪石用大块墨色泼染，造型古拙奇崛，与兰草形成刚柔相济之趣。构图疏密对比强烈，留白巧妙，既显空灵之境，又含苍劲之气。题字书法笔力沉厚，与画面笔墨呼应，印章点缀更添古朴。整体尽显文人画的清雅意趣与作者独特的艺术风骨。",[23,173,406,229,86,263,225,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365c3b771e919be81790e1b074b9d7db.jpg",[90],"c3b9ad",{"id":67998,"slug":67999,"title":68000,"dynasty":32065,"author":3264,"museum":78,"description":68001,"tags":68002,"thumbUrl":68003,"material":139,"size":139,"collection":90,"collections":68004,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":68005},203126,"quan-shi-shui-xian-tu-zhou-pan-tian-shou-203126","拳石水仙图轴","水仙茎叶以劲挺线条勾勒，花头敷淡彩，清雅脱俗；拳石以浓淡干湿墨块泼写，造型奇崛朴拙，与柔媚的水仙形成刚柔相济之趣。构图疏密有致，留白空灵，尽显文人画的生机与意韵。笔墨苍劲老辣，兼具写意洒脱与造型精准，传递出清逸出尘的格调。画面于简淡中见精神，于对比中显张力，是传统花鸟与现代审美融合的佳作。",[23,173,27,83,405,229,225,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d95878a583bf0bc4d6f3e65a82280ec.jpg",[90],"cec4ba",{"id":68007,"slug":68008,"title":68009,"dynasty":32065,"author":68010,"museum":78,"description":68011,"tags":68012,"thumbUrl":68013,"material":139,"size":139,"collection":181,"collections":68014,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":68015},203116,"dong-shan-qi-gui-tu-zhou-lu-xiao-man-203116","东山骑归图轴","陆小曼","笔墨清雅的山水景致中，坡岸逶迤延伸，枯木疏枝点缀其间，几株苍松姿态古拙，扎根于山石之上。山间小径隐约可见人影，似是骑归的行客，传递出悠然闲适的意趣。远山层叠，以淡墨晕染出朦胧质感，留白处尽显空灵；近景山石用简练皴法勾勒，线条温润，与疏朗的树木相映成趣。整体气息恬淡雅致，将自然之静谧与人文之闲情融于一纸，尽显文人画的韵致。",[23,29,27,177,403,1265,1267,9672,7497,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf882bee33d56695450642b4c1546d4.jpg",[181],"d7cdbb",{"id":68017,"slug":68018,"title":68019,"dynasty":76,"author":67883,"museum":78,"description":68020,"tags":68021,"thumbUrl":68022,"material":139,"size":139,"collection":181,"collections":68023,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":68024},203104,"su-tai-gao-yu-tu-ce-wen-dian-203104","苏台膏雨图册","此作以淡墨晕染营造膏雨初歇的空濛氛围，山峦以简练线条勾勒轮廓，辅以皴擦表现石质肌理，林木疏朗挺劲，枝叶间似带湿润气息。近景坡石错落，细草点缀，远景烟波轻笼，隐现孤舟，意境悠远恬淡。笔墨清雅秀逸，尽显文人山水的空灵之趣，将江南雨景的温润雅致凝于册页之中，观之如临其境，心生清宁。",[23,29,173,81,177,1082,557,174,9672,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a859ccf7d9e69dbfa797a6ff9113a58.jpg",[181],"dad4cd",{"id":68026,"slug":68027,"title":68028,"dynasty":32065,"author":21870,"museum":78,"description":68029,"tags":68030,"thumbUrl":68032,"material":139,"size":139,"collection":181,"collections":68033,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":68034},203029,"song-feng-ming-quan-tu-zhou-wu-hu-fan-203029","松风鸣泉图轴","画面中老松倚崖而生，虬干盘曲如卧龙，松针以浓墨点染，簇簇分明，尽显苍劲之姿；崖下飞瀑倾泻，水流似带，墨色由浓转淡，晕染出灵动之态。远山以淡墨皴擦，云雾氤氲其间，虚实相生间营造出悠远空灵的意境。整体笔墨兼具南北宗之长，苍劲中含秀润，构图疏密有致，松的静穆与泉的活泼相映成趣，传递出松风鸣泉的清旷雅韵，尽显传统山水的笔墨意趣与文人情怀。",[23,173,29,403,466,176,177,24774,56918,68031,13438,12104,7],"秀润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7c9d57361df5fe257b2939dd5fb21b.jpg",[181],"cabfae",{"id":68036,"slug":68037,"title":68038,"dynasty":32065,"author":48182,"museum":78,"description":68039,"tags":68040,"thumbUrl":68041,"material":139,"size":139,"collection":45,"collections":68042,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":68043},203000,"ba-jun-tu-heng-pi-ge-quan-203000","八骏图横披","画面中八匹骏马神态各异，或昂首伫立，或交颈亲昵，或低头啮草，姿态生动自然。背景以淡墨晕染的柳树、嶙峋山石与疏草相映，营造出清雅旷远的郊野氛围。画家以细腻工笔勾勒马匹轮廓，设色淡雅温润，既表现出马体的肌理质感，又通过飘逸的鬃毛、灵动的四肢传递出骏马的矫健身姿与闲适意态。整体画风工写结合，笔墨简练却形神兼备，将自然之趣与骏马之美融为一体，尽显生机盎然之韵。",[23,27,28,150,1322,176,12037,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd731bc9fd04aad6e5b1de37a2720bd1.jpg",[45],"c2b79d",{"id":68045,"slug":68046,"title":16576,"dynasty":32065,"author":50685,"museum":78,"description":68047,"tags":68048,"thumbUrl":68049,"material":139,"size":139,"collection":181,"collections":68050,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":68051},202971,"shan-shui-tu-zhou-xiao-jun-xian-202971","此图绘冬日山水之景，笔墨清逸雅致。近处枯树虬枝，残叶点缀，尽显苍劲之姿；中景临水小屋掩映于疏林，木栈轻架，似有暖意藏于清冷间。远山以淡墨皴染，留白处凝雪覆岩，云雾轻笼，意境悠远空寂。整幅画作以水墨为主，设色淡雅，皴擦结合，山石的厚重与林木的疏朗相映成趣，于萧瑟中见生机，传递出文人画特有的静谧禅意，引人入胜。",[23,29,173,27,865,176,3024,177,2787,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f5e84fe841cdd46f8330ca4574a4e3.jpg",[181],"d8d0c3",{"id":68053,"slug":68054,"title":65820,"dynasty":32065,"author":48221,"museum":78,"description":68055,"tags":68056,"thumbUrl":68057,"material":139,"size":139,"collection":45,"collections":68058,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":68059},202963,"xiong-shi-tu-zhou-gao-qi-feng-202963","画作中雄狮昂首怒目，鬃毛如墨浪翻卷，身姿矫健欲扑。浓墨写意鬃毛，笔力雄健；设色渲染躯体，棕白相间显层次。双目炯炯，黄瞳含威，獠牙外露，神态威猛慑人。利爪劲挺，紧扣岩隙，力量感扑面而来。笔墨兼融中西，既存传统水墨的洒脱，又具写实传神之妙，将猛兽的野性霸气尽显无遗，画面张力十足，动人心魄。",[23,225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厘米",[328],{"id":69018,"slug":69019,"title":69020,"dynasty":76,"author":67295,"museum":311,"description":69021,"tags":69022,"thumbUrl":69023,"material":139,"size":139,"collection":328,"collections":69024,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},239884,"zhang-zhao-shu-su-shi-juan-zhang-zhao-239884","张照书苏诗卷","张照（1691～1745），字得天，号泾南，亦号天瓶居士，江南娄县人。康熙四十八年进士。清藏书家、书法家、戏曲家、书画目录整理者。\n康熙四十八年（公元1709年）进士，改庶吉士。雍正十一年（公元1733年）官刑部尚书，以预修《大清会典》，书成，加一级。十三年，为抚定苗疆大臣，无功，革职拿问，谕靳。寻赦之，命在武英殿修书处行走。乾隆七年，历官至刑部尚书，供奉内廷。九年十二月，丁父忧，奔丧至徐州，卒于途中。谥文敏。乾隆时大书法家，常为乾隆皇帝代笔，擅长行楷书，是书“馆阁体”能手。性地高明，深通释典，诗多禅语。书法初从董其昌入手，继乃出入颜、米，天骨开张，气魄浑厚。兼能画兰，间写墨梅，疏花细蕊，极其秀雅。尝作白描大士像，寥寥数笔，而法相自佳。著天瓶斋书画题跋、得天居士集，刻有天瓶斋帖。卒年五十五。",[7,86,178,25,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff210504616148f59ecb9b03dbd7a8ae9.jpg",[328],{"id":69026,"slug":69027,"title":69028,"dynasty":189,"author":645,"museum":311,"description":35057,"tags":69029,"thumbUrl":69030,"material":2164,"size":2165,"collection":139,"collections":69031,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},239786,"qi-zha-juan-zhao-meng-fu-239786","七札卷",[7,209,23,24,25,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3806fc086e4f797465cc9bc61cfe56.jpg",[],{"id":69033,"slug":69034,"title":69035,"dynasty":76,"author":12204,"museum":20,"description":69036,"tags":69037,"thumbUrl":69038,"material":139,"size":139,"collection":139,"collections":69039,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},234271,"hua-ren-wu-zhang-zhao-lin-dong-qi-chang-shu-tang-shi-cheng-shan-ding-guan-peng-234271","画人物张照临董其昌书唐诗成扇","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响， [1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[7,1352,106,105,86,178,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f13ca67f90afdb783c1f99045c97754.jpg",[],{"id":69041,"slug":69042,"title":69043,"dynasty":99,"author":12570,"museum":311,"description":49699,"tags":69044,"thumbUrl":69045,"material":139,"size":139,"collection":139,"collections":69046,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},234223,"du-qiong-meng-xuan-tang-tu-juan-du-qiong-234223","杜琼梦萱堂图卷",[7,23,24,25,173,29,177,86,178,263,175,34,557,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b3528e3fa7f667927b9d355b3593ba.jpg",[],{"id":69048,"slug":69049,"title":69050,"dynasty":76,"author":69051,"museum":20,"description":69052,"tags":69053,"thumbUrl":69054,"material":699,"size":139,"collection":139,"collections":69055,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},234140,"shi-shu-hua-he-juan-huang-yi-234140","诗书画合卷","黄易","故宫博物院藏有黄易的一纸《诗书画合卷》，在《诗书画合卷》中黄易分别临习了王羲之的《黄庭经》和《东方朔画像赞》。此二作虽为临习作品，黄易却对原作进行了大胆改变，这种改变可以说是以钟繇来冲破“二王”。首先，他临王羲之楷书中带有些许钟繇的字势特点。他将王羲之楷书结体的纵向取势变为横向取势，并在某些笔画上参入隶书笔意，特别是捺画夸张和舒展得更为明显，以隶书的波挑来调节楷书的板滞。其次，黄易改王羲之楷书的疏朗宽阔为茂密紧凑，不管是行距还是字距都远小于原作，使章法更为葱郁。再次，此作在略微增加线条厚度的同时，又增加了不少起笔和收笔的出锋，这就使作品厚重之中更具有灵动感和活泼的情趣。",[7,23,24,25,86,173,177,29,384,385,114,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2594a0466d2bc6670524a74ac93c1c2d.jpg",[],{"id":69057,"slug":69058,"title":69059,"dynasty":189,"author":278,"museum":222,"description":69060,"tags":69061,"thumbUrl":69062,"material":699,"size":69063,"collection":139,"collections":69064,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},231888,"lu-ye-da-mo-tu-yi-ming-231888","芦叶达摩图","亲近佛道的人，除了兴趣，往往都有自救的动机和解脱的渴望——他们对心中迷乱挣扎有着更真切的体会和更迫切的出离愿望。但常听人问起如何才能心不乱、到底应该如何去修等问题，先圣经典对此讲说甚多而明明白白，为什么还有这么普遍的困惑呢？除了法门太多而无从抉择的原因，更多的恐怕还是很多法门都太高妙，自己找不到实在的下手处。\n法门的选择上，先圣早已明言：“佛说一切法，为治一切心；若无一切心，何须一切法”、“一门深入，即可成就”。一切法门都是为适应众生不同根机的方便，实相和本源皆在言外法下，纠结于名相或盯在高低优劣，都是不解乃至大违圣意。正确的路子，是依自己适合的而抉择，然后笃定地做下去便是。\n无从下手则是实实在在的难处，强求不了。到底有没有既深契高妙又可真正下手的法门？我能想到的最好的答案是菩提达摩的32字心法，记载于《景德传灯录》中。\n达摩是禅宗西天第二十八祖，东土初祖。他的名号在中国可谓无人不知无人不晓，他的教法了解的却恐怕不多。禅宗的发展是向着越来越玄妙、越来越难以把握去的，因为祖师们觉得一切把握都等同于妄，非得透一切名相而直契本源不可，只是其中超妙非利根而不得入。禅宗是否一向如此呢？不是的，至少不完全是——在达摩祖师的时代，教法上不仅有着禅宗一贯的宗旨，下手上也是朴实直接的。这点其实一直到六祖慧能也还保留着，我们看《坛经》中的接引，也都是实实在在的。\n32字心法的内容是：“外息诸缘，内心无喘。心如墙壁，可以入道。明佛心宗，等无差误。行解相应，名之曰祖。”它有两个重大处，一是不是孤立提出，而是在达摩祖师总结的入道二门——理入和行入的基础上提出来的。行入又包括四行，是入道的四个可以真正下手处，称之为“四行观”，“其余诸行，悉入此中”。二是理入与行入之间，还暗含一大玄机，乃一切法门的总纲所在，可称根本心法，却少为人注意。\n只是这理入的玄机，非详知四行而不得解。所以达摩虽将理入安立在行入之前，并大有如此安排的深意，却需要先从四个可以真正下手处说起。",[7,23,225,243,106,244,173,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa936cbcd0ef7ed62fe770ec635c672.jpg","175×38.5厘米",[],{"id":69066,"slug":69067,"title":69068,"dynasty":277,"author":69069,"museum":311,"description":69070,"tags":69071,"thumbUrl":69072,"material":2164,"size":2165,"collection":139,"collections":69073,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},231803,"shan-wang-ji-tu-juan-ge-chuan-guo-fang-231803","山王祭图卷","歌川国芳","此卷以明艳浮世绘笔调铺陈祭典盛景，抬舆之上，山王安坐古木之下，丹枫缀枝晕染神性肃穆。下方数百役人着齐整仪服，合力抬舆缓行，朱蓝配色鲜亮夺目，将祭典庄重又喧腾的氛围尽数铺展。左侧配文详录祭仪规制，将民俗细节与绘事相融。\n\n它定格了江户祭典鲜活热络的瞬间，既烘托出信仰的厚重庄严，也尽显庶民参与祭典时的虔诚热望，是兼具纪实性与艺术性的民俗绘卷典范。",[7,13178,25,27,106,866,84,16717,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0375123c0717bdd1a514b64fd5ea7505.jpg",[],{"id":69075,"slug":69076,"title":69077,"dynasty":277,"author":51089,"museum":311,"description":51090,"tags":69078,"thumbUrl":69079,"material":2164,"size":2165,"collection":139,"collections":69080,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},231784,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-ren-wu-hua-niao-juan-he-guo-xiao-zhai-231784","明清日本古画粉本-山水人物花鸟卷",[7,25,173,27,83,106,29,1365,370,263,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c9387e6fc8f6e0c9a6f5a890366f80.jpg",[],{"id":69082,"slug":69083,"title":69084,"dynasty":277,"author":69085,"museum":311,"description":69086,"tags":69087,"thumbUrl":69089,"material":139,"size":139,"collection":139,"collections":69090,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},231723,"jiang-hu-shi-dai-che-zheng-tu-ping-feng-shou-ye-shan-le-231723","江户时代 车争图屏风","狩野山乐","采用全景俯览构图，暖棕底色晕开沉郁底色，三驾町车静立在混乱核心，成为喧嚣风暴的锚点。白衣与褐衣人群短兵相接，扭打推搡的肢体动态被精准捕捉，呼喝厮打的嚣攘仿佛冲破纸面。远景门楼有人凭栏窥望，近景苍松与町家围挡框住街巷乱斗，将狂放的冲突收束在市井日常的框架里。\n\n笔触简劲写意，以色块区分阵营，用利落的线条勾勒奔突的动线，把民间械斗的粗粝张力尽数渲染，将市井里炽热又野性的烟火瞬间，凝为永恒的视觉记忆。",[7,299,27,104,106,228,1365,114,69088,7012],"争斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc34d08daf1ecda4368dc93d8a81ee4f.jpg",[],{"id":69092,"slug":69093,"title":69094,"dynasty":277,"author":278,"museum":311,"description":69095,"tags":69096,"thumbUrl":69097,"material":2164,"size":2165,"collection":139,"collections":69098,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},231711,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-yan-li-si-juan-yi-ming-231711","镰仓时代 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之境，笔墨清雅意趣悠长。",[7,23,24,225,173,27,29,107,34,176,1253,1775,108,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":69216,"slug":69217,"title":69218,"dynasty":76,"author":2987,"museum":311,"description":69219,"tags":69220,"thumbUrl":69221,"material":139,"size":139,"collection":139,"collections":69222,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},228956,"yu-zhi-wan-fang-an-he-jing-shu-shi-jiang-ting-xi-228956","御制万方安和敬述诗","此作用云蝠纹粉笺书写，底色瑞纹雅致，与笔墨相映成趣。行书兼具馆阁端稳与文人意趣，用笔圆劲秀逸，起收间顿挫有度，结体匀整端庄又暗含灵动姿态，字行气脉贯通，章法疏朗合宜。\n笔墨间带着恭谨雅致的庙堂气韵，既有台阁体的规整雍容，又融个人隽秀书风，将庄重感与温润笔墨相融，在严整法度中透出温婉情致，尽显清中期翰苑书法典型风貌，纹饰与笔墨相得益彰，更添祥和雅正之韵。",[7,23,24,225,178,86,27,2186,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5e125151224206e9ae776a4d8ee0ab.jpg",[],{"id":69224,"slug":69225,"title":69226,"dynasty":99,"author":817,"museum":206,"description":69227,"tags":69228,"thumbUrl":69229,"material":712,"size":69230,"collection":139,"collections":69231,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},228884,"du-le-yuan-ji-qi-yong-juan-wen-zheng-ming-228884","独乐园记七咏卷","此幅以王蒙笔法画司马光独乐园图，嘉靖戊午（1558）七月二十日，作独乐园图。绘村居篱落，临水而筑。篱前立苍松，屋後植脩竹。敞轩之中，士人倚窗凝视，远水遥岑。笔多圆转，意亦较滞，项圣谟专学此等。行书独乐园记，用新笔，秀妩温润之甚，去尽少年圭角。八十九岁老翁，精力不减盛年也。",[7,209,23,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848062856841e9511f46a506c0accf83.jpg","纵27cm，横655.2cm",[],{"id":69233,"slug":69234,"title":69235,"dynasty":99,"author":23279,"museum":311,"description":69236,"tags":69237,"thumbUrl":69238,"material":2164,"size":2165,"collection":139,"collections":69239,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},228861,"you-lan-shi-wen-peng-228861","幽兰诗","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。",[7,86,24,25,178,263,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3d76f4c6dc7db49dc2e6f090bee8ff.jpg",[],{"id":69241,"slug":69242,"title":69243,"dynasty":99,"author":170,"museum":311,"description":69244,"tags":69245,"thumbUrl":69246,"material":2164,"size":2165,"collection":139,"collections":69247,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},228840,"chun-xue-ge-jing-xin-shen-zhou-228840","春雪歌镜心","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[7,1352,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ed06e54c1727261421608c690df658.jpg",[],{"id":69249,"slug":69250,"title":69251,"dynasty":99,"author":278,"museum":311,"description":69252,"tags":69253,"thumbUrl":69254,"material":2164,"size":2165,"collection":139,"collections":69255,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},228821,"gu-xiu-shi-liu-ying-zhen-tu-yi-ming-228821","顾绣十六应真图","明嘉靖年间,露香园主顾名世之妾缪氏擅绣人物、佛像,又有顾媳韩氏仿宋元画入绣。因绣品气韵生动,于是名噪一时。",[7,9935,244,27,243,106,384,176,266,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2601ee105f36fa640e1cc4bf14f7dc.jpg",[],{"id":69257,"slug":69258,"title":69259,"dynasty":99,"author":278,"museum":311,"description":69260,"tags":69261,"thumbUrl":69263,"material":2164,"size":2165,"collection":139,"collections":69264,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},228787,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-228787","天龙八部罗叉女众","这幅画本是明代宫廷佛像画作，工笔重彩，人物造型精准，表情生动，堪称明代佛画中的顶级作品。从其左下方“御用监太监尚义王勤等奉命提督监造”的字样可知。尚王二人，皆为负责宫廷佛事的御用监太监，其地位甚至要高于同时期的郑和。",[7,23,24,939,243,28,27,106,245,69262,2220],"护法形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bbf54a59c4eb18498e924da22790e0.jpg",[],{"id":69266,"slug":69267,"title":69268,"dynasty":99,"author":62746,"museum":311,"description":69269,"tags":69270,"thumbUrl":69271,"material":139,"size":139,"collection":139,"collections":69272,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},228766,"liu-hua-tu-ni-yuan-lu-228766","六花图","此作为诗画合璧长卷，水墨花卉写意挥洒，墨色干湿浓淡变幻自然。牡丹、寒梅等花木虬枝苍劲，花瓣晕染淋漓，笔底带着疏朗桀骜的生气，将草木风骨跃然纸上。\n\n配题行书笔力奇崛雄健，结体欹侧跌宕，与画意相得益彰，诗文与绘事交织，融画境、文心、笔情为一体。\n笔底藏着晚明文人的疏狂耿介，将写意精神抒发尽致，是诗书画印合一的文人佳构，尽显磊落襟怀与不俗格调。",[7,23,24,25,173,178,263,402,406,227,369,405,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065af1defdfd694ae2722cb69a9abca8.jpg",[],{"id":69274,"slug":69275,"title":69276,"dynasty":99,"author":18033,"museum":311,"description":69277,"tags":69278,"thumbUrl":69279,"material":2164,"size":2165,"collection":139,"collections":69280,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},228463,"song-ting-gao-yi-tu-qian-gu-228463","松亭高逸图","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[7,209,23,24,1352,27,177,29,403,175,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe165198908dffca33a1454536263b0a.jpg",[],{"id":69282,"slug":69283,"title":36345,"dynasty":99,"author":7174,"museum":311,"description":69284,"tags":69285,"thumbUrl":69286,"material":139,"size":139,"collection":139,"collections":69287,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[7,209,23,24,25,178,86,173,27,29,174,34,109,108,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":69289,"slug":69290,"title":69291,"dynasty":99,"author":278,"museum":311,"description":69292,"tags":69293,"thumbUrl":69294,"material":139,"size":139,"collection":139,"collections":69295,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},228376,"ren-wu-gu-shi-ye-yi-ming-228376","人物故事页","此作用笔挺劲，以铁线描勾勒形象，线条简练流畅，将人物衣褶的起伏褶皱精准铺展，生动带出二人一马二牛的动态。骑者神色安然，坐姿舒展，仆从赤足束发，扬杆驱策双牛，朴拙情态呼之欲出。\n\n设色简淡清雅，以赭石、石绿晕染衣饰层次，古旧绢面晕开沉厚古韵。画面捕捉羁旅行役的日常一瞬，以小见大，无繁复铺陈却将赶路的平实氛围烘托尽致。留白与古印相映，暗合古韵悠长的雅致意趣，尽显写实中暗藏写意情致的风貌，浅淡间定格行旅的烟火日常。",[7,23,27,106,151,150,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b314c39166e2c1ee3b7573373fd05b.jpg",[],{"id":69297,"slug":69298,"title":69299,"dynasty":99,"author":42369,"museum":311,"description":69300,"tags":69301,"thumbUrl":69302,"material":139,"size":139,"collection":139,"collections":69303,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},228337,"yin-bao-jie-shan-tu-zhou-wang-wen-228337","隐宝界山图轴","《隐宝界山图》是明朝王问所作名画，此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生于1949年购于广州。\n1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。\n画心左上自题：“宝界山，余读易庐在焉。\n嘉靖戊申始得辞岭南之命，寄傲其间，静志远交，可以寡过矣。\n诗曰：荒山雨雪暮寒时，碧树临湖橘柚垂。\n归棹复寻渔径入，幽居更向谷云移。\n鲈如张翰思偏早，酒为渊明酿已迟。\n木石久谙麇鹿性，野人相见莫相疑。\n仲山王问写并书。\n”钤“王问之印”、“进士”等印。\n据此图题跋，可知所画是王问在嘉靖戊申年（二十七年，1548年）隐居无锡宝界山读书时的情景，为画家5岁时所作。\n鉴赏印钤“石渠宝笈”、“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等印。\n画幅右下钤“无事对青山”白方印，左下钤“闲溪陈氏玉阶珍藏”朱长方印。\n画中所绘当为宝界山实景。\n筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。\n画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。\n用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。\n王问之作传世不多，得此盛年鼎绝作品实为不易。",[7,23,225,29,173,177,107,174,109,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8002608845fa1f1fb6a6f63a76f2c409.jpg",[],{"id":69305,"slug":69306,"title":40442,"dynasty":189,"author":278,"museum":311,"description":69307,"tags":69308,"thumbUrl":69310,"material":139,"size":139,"collection":139,"collections":69311,"showCount":972,"zanCount":2209,"manualWeight":48,"mainColor":49},228236,"xue-shan-yun-lv-tu-yi-ming-228236","整幅画作以萧寒冬日为底色，虬劲枯木扎根嶙峋坡石，枝干尽脱，带着凌冽的荒寒之气。淡墨晕染出山峦积雪，将冬日山野的厚重冷寂铺展开来，边角山石奇崛错落，勾勒出空阔辽远的天地。\n\n中景处的运驴队伍缓步而行，为清寂的雪野晕开一丝烟火暖意，动静相映，让冷肃山水多了几分行路意趣。笔墨苍简老辣，干笔勾勒山石肌理，淡墨铺陈积雪留白的空灵，将苍逸简淡的意趣融于其中，把冬日山野的空寂萧寒与行路的市井意趣相融，清冷中带着鲜活生气，尽显小品山水的精妙意韵，将冬日荒岭的清寒意境烘托得淋漓尽致。",[7,23,1218,69309,173,7577,451,16044,6926,23803,14097,20284,14857,9672],"小品画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114c3794a49fbc91897e8c3e82f12c09.jpg",[],{"id":69313,"slug":69314,"title":69315,"dynasty":189,"author":278,"museum":311,"description":69316,"tags":69317,"thumbUrl":69318,"material":2164,"size":2165,"collection":139,"collections":69319,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},228233,"da-mo-xiang-yi-ming-228233","达摩像","达摩，是中国禅宗的初祖。他生于南印度，婆罗门族，出家后倾心大乘佛法。梁·普通年中（520～526，一说南朝宋末），他自印度航海来到广州，从这里北行至魏，到处以禅法教人。据说他在洛阳看见永宁寺宝塔建筑的精美，自言年已一五0岁，历游各国都不曾见过，于是‘口唱南无，合掌连日’（《洛阳伽蓝记》卷一）。",[7,209,23,24,225,243,244,173,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F896744299faea52caf62dceaf7edaa23.jpg",[],{"id":69321,"slug":69322,"title":69323,"dynasty":189,"author":278,"museum":311,"description":69324,"tags":69325,"thumbUrl":69326,"material":139,"size":139,"collection":139,"collections":69327,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},228232,"xin-pi-yin-ju-tu-yi-ming-228232","辛毗引裾图","苍松虬曲、茂叶层叠，将深庭掩映出私密肃穆的议事氛围。画面人物排布错落有致，主宾对坐之间，扯衣强谏的身姿凛然生动，把忠直不屈的诤臣情态凝于笔端。侍从仕女垂立恭谨，更衬出君臣对谈的张力。\n\n设色沉厚朴拙，线条凝练劲挺，以淡赭墨晕染衣褶神情，将汉末朝堂犯颜直谏的场景复刻于绢素之上，定格古人犯言敢谏的风骨，兼具叙事性与感染力，尽显古雅厚重的历史画意趣，让千年前的忠直诤言仿佛仍回荡在庭间。",[7,23,24,225,27,28,106,34,115,436,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4418be9d801ecd024106fbbe1a8721.jpg",[],{"id":69329,"slug":69330,"title":69331,"dynasty":189,"author":278,"museum":311,"description":69332,"tags":69333,"thumbUrl":69334,"material":139,"size":139,"collection":139,"collections":69335,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},228221,"qiu-lin-shan-zhuang-tu-ye-yi-ming-228221","秋林山庄图页","此作用笔简淡松秀，以干笔皴擦辅以淡墨晕染，绘就秋日山林逸致。远山空灵虚蒙，主峰浑厚苍劲，带着沉静古拙之气。近岸林木错落，墨色浓淡相宜，枯荣交织间晕开清寂秋意。山居隐于林麓深处，石阶蜿蜒探入其间，藏着避世闲雅的意趣。浅滩碎石错落，缓流无声，野趣横生。\n\n整幅画以萧散之韵勾勒山水，摒弃繁饰，将秋日山野的幽寂与山居恬逸融为一体，尽显文人画尚意境、重简淡的风骨，观之便如踏入清秋林泉，山风裹木叶轻响漫过周身，浸满心间出世的安宁。",[7,23,173,27,177,81,29,866,1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的水墨语言晕染出江南泽国的空濛澹远，把山水写意与文人情思揉作一处，悠悠古韵扑面而来。",[7,23,24,173,27,29,44476,2279,282,2278,178,263,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f10e214dabe06bffc5da9e27b7f30bb.jpg",[],{"id":69397,"slug":69398,"title":64240,"dynasty":18,"author":278,"museum":311,"description":69399,"tags":69400,"thumbUrl":69401,"material":139,"size":139,"collection":139,"collections":69402,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},227840,"gu-mu-han-qin-tu-yi-ming-227840","此作为典型的宋人寒林小景。坡岸积素皴染柔和，尽显积雪蓬松厚重，古木虬曲苍劲，枯涩的枝桠皴擦老辣，将冬日林木的萧索质感勾勒尽致。枝梢立着一只寒禽，身形虽小却点染生动，孤清的身影在冷寂天地间格外醒目。\n\n对岸平沙远岫晕染朦胧，以一隅写尽冬日郊野的阔远荒寒。画面虚实相生，留白藏韵，以极简的笔墨铺展出清寂冷冽的冬日氛围，于萧索中暗藏幽微生机，含蓄传递出枯淡清远的文人意趣，尽显宋画诗意内敛的美学特质。",[7,23,24,173,27,28,177,1423,866,266,176,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239db6ca37d296151263dc36a7c2dedc.jpg",[],{"id":69404,"slug":69405,"title":53528,"dynasty":18,"author":23107,"museum":311,"description":69406,"tags":69407,"thumbUrl":69408,"material":139,"size":139,"collection":139,"collections":69409,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},227757,"qiu-shan-yan-ai-tu-yan-ci-ping-227757","《秋山烟霭图》是宋代阎次于的作品，现收藏有台北故宫博物院。\n\n此用水墨绘淡墨远山，烟霭朦朦，若隐若现。下部作山坡秋树，山坡处用笔勾出染色，画树枝用劲硬笔法，但整幅画面以水墨渲染为主，以墨色的浓淡分出层次，有“岚顶柔和”的风格，近乎秀润清真。",[7,23,1218,173,177,5727,10361,34,1265,4064,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F241d4edcaac7e30555df5987f97eab77.jpg",[],{"id":69411,"slug":69412,"title":69413,"dynasty":18,"author":278,"museum":311,"description":69414,"tags":69415,"thumbUrl":69416,"material":139,"size":139,"collection":139,"collections":69417,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},227572,"zhu-tang-su-yan-tu-yi-ming-227572","竹塘宿雁图","此作以团扇取景，绘就郊塘夜色。虬曲老竹斜出坡岸，细劲笔意写尽竹叶萧疏清峭，枝桠间宿雁静敛羽翼隐伏其中，于幽暗中藏着生趣。塘水浅滩以淡墨晕染留白，将夜色空茫铺展开来，虚实相映间，把郊野清寂萧寒的意趣尽数烘托。\n\n笔触简淡老辣，以极简铺陈勾勒出秋日塘岸的荒寒淡远，尽显寄情林泉的幽淡襟怀，带着典型的雅致空寂审美意韵，淡墨轻痕里藏着侘寂出尘的林下幽思。",[7,209,23,24,28,27,226,3898,11250,83,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580d6774714bf40f3729bca7ab8ff08.jpg",[],{"id":69419,"slug":69420,"title":69421,"dynasty":18,"author":278,"museum":311,"description":42000,"tags":69422,"thumbUrl":69424,"material":139,"size":139,"collection":139,"collections":69425,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},227364,"yu-lin-ku-003-ku-zhu-shi-dong-pi-yi-ming-227364","榆林窟003窟主室东披",[7,538,243,1004,27,28,244,7385,7386,22298,69423,106],"藻井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb069be1ae65f6bcb551c3f0c74ded6.jpg",[],{"id":69427,"slug":69428,"title":69429,"dynasty":54,"author":278,"museum":311,"description":67146,"tags":69430,"thumbUrl":69431,"material":2164,"size":2165,"collection":139,"collections":69432,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},227229,"fo-jing-shi-bian-yi-ming-227229","佛经 饰边",[7,54,243,5152,621,86,24,25,5153,37433,67148,263,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f1a929d64d0da934b0bb3a755c08a6.jpg",[],{"id":69434,"slug":69435,"title":69436,"dynasty":54,"author":278,"museum":311,"description":45312,"tags":69437,"thumbUrl":69438,"material":2164,"size":2165,"collection":139,"collections":69439,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},227216,"wu-zhou-tang-zhang-ju-mu-zhi-ming-yi-ming-227216","武周（唐）张矩墓志铭.",[7,620,86,621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cabce3fed1873424d7351ed68799a4e.jpg",[],{"id":69441,"slug":69442,"title":69443,"dynasty":277,"author":278,"museum":311,"description":69444,"tags":69445,"thumbUrl":69446,"material":139,"size":139,"collection":139,"collections":69447,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},226650,"bai-shi-wen-ji-gu-chao-can-juan-yi-ming-226650","白氏文集-古抄残卷","《白氏文集》，是唐代诗人元稹为了好友白居易而编辑的作品集，又称《白氏长庆集》。原先共有七十五卷，现存七十一卷，每卷的编排大致上保留了白居易自编的原貌，在唐代文人自编文集中，是保存较完整的一部。",[7,86,621,5153,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb513521513d4b431b17a77d5923dfa79.jpg",[],{"id":69449,"slug":69450,"title":69451,"dynasty":54,"author":278,"museum":311,"description":45312,"tags":69452,"thumbUrl":69453,"material":2164,"size":2165,"collection":139,"collections":69454,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},226541,"han-yu-li-guan-mu-zhi-yi-ming-226541","韩愈李观墓志",[7,620,86,621,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467863e69f0ecaf1daa6633b8759a8de.jpg",[],{"id":69456,"slug":69457,"title":69458,"dynasty":8433,"author":278,"museum":311,"description":45312,"tags":69459,"thumbUrl":69460,"material":2164,"size":2165,"collection":139,"collections":69461,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},226537,"yang-fan-mu-zhi-ming-yi-ming-226537","杨范墓志铭",[7,620,86,621,25111,5406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F950ddc581335ca53d9afac9c0edc06b5.jpg",[],{"id":69463,"slug":69464,"title":69465,"dynasty":18,"author":57543,"museum":311,"description":57544,"tags":69466,"thumbUrl":69467,"material":2164,"size":2165,"collection":139,"collections":69468,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},225291,"jin-gang-bo-re-jing-kai-ti-can-juan-liu-shi-san-xing-hong-fa-da-shi-kong-hai-225291","金刚般若经开题残卷六十三行",[7,86,5152,25,243,2570,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cf5595d69e439afd2c4407399c65fd.jpg",[],{"id":69470,"slug":69471,"title":69472,"dynasty":76,"author":7940,"museum":311,"description":69473,"tags":69474,"thumbUrl":69478,"material":139,"size":139,"collection":139,"collections":69479,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},224472,"liang-chang-shan-guan-tu-zhou-wang-hui-224472","良常山馆图轴","此作用笔精谨秀润，以巍峨主峰撑起画面骨架，山石以披麻皴层层皴染，尽显苍劲浑厚，崖壁高耸险峻，尽显自然雄奇之态。山谷间林木蓊郁，屋舍幽藏于林麓之间，溪涧蜿蜒穿流于乱石浅滩，烘托出世外幽居的静谧闲雅。\n\n画作兼得北宋山水的雄浑格局与元人笔墨的秀逸温润，将山野林泉的朴茂生机与文人幽居的雅趣相融，于规整中见灵动，笔墨间尽抒山水清旷之美，尽显正统山水画的雅致意韵。",[7,23,209,225,1218,173,1842,176,15011,12141,1082,4970,14092,69475,27147,3723,9867,69476,69477,15953,7497],"乱石","雄浑","秀逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcfa06a3c8190e72183fd3cb7d83.jpg",[],{"id":69481,"slug":69482,"title":69483,"dynasty":76,"author":7940,"museum":311,"description":69484,"tags":69485,"thumbUrl":69486,"material":139,"size":139,"collection":139,"collections":69487,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},224466,"wan-feng-ji-yu-wang-hui-224466","万峰积玉","以水墨晕染层叠峰峦，素雪覆裹山巅，留白与淡墨交织出寒冽空寂的冬日林泉。枯木萧疏错落，枝桠凝霜覆雪，愈发衬出山野清旷辽远。\n\n运笔兼具苍劲与秀润，勾勒山峦简约空灵，淡墨皴擦晕出积雪的厚重，细笔摹画木梢萧寒之态，将冬日山野的冷逸出尘尽数铺展。边角题诗相伴印信，诗画相融，把万峰积素、空谷幽寂的冬日意境定格卷上，既有雪景山水的清寒之美，又携文人雅韵，尽显雪景山水的隽永格调。",[7,209,23,173,29,2019,451,263,86,177,68474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba9d8c4472c4dc665491c07f3c820fd.jpg",[],{"id":69489,"slug":69490,"title":69491,"dynasty":76,"author":1584,"museum":311,"description":69492,"tags":69493,"thumbUrl":69495,"material":139,"size":139,"collection":139,"collections":69496,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":49},224403,"gao-ling-ping-chuan-tu-wang-yuan-qi-224403","高岭平川图","《王原祁画论译注》由俞丰译注，荣宝斋出版社出版。\n雨窗漫笔 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墨勾勒形神，轻施淡彩不着浓艳，将文人山水的疏朗意趣藏于尺幅之间。静穆空寂中暗含生机，无繁复皴擦却将丘壑灵韵尽数托出，寄寓着林泉高致，淡而不薄，简而有味，尽显水墨小品的隽永余韵。",[7,23,27,29,108,109,1423,866,229,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef01adc37194acb4634f850f7a504be.jpg",[],{"id":69565,"slug":69566,"title":69567,"dynasty":76,"author":29211,"museum":311,"description":69568,"tags":69569,"thumbUrl":69570,"material":139,"size":139,"collection":139,"collections":69571,"showCount":972,"zanCount":2209,"manualWeight":48,"mainColor":49},224274,"shan-shui-hua-hui-ce-wu-fu-shan-224274","山水花卉冊(五)","此作笔墨简率古雅，以朴拙皴染写就群山苍莽浑厚的质感，数道飞泉破壁而出，灵动生机撞破山林沉静。坡上古松虬曲苍劲，松针攒簇如盖，掩映着朱栏青瓦的山居，暖艳设色在水墨晕染间跳脱而出，为山野添了几分雅致温馨。\n\n画面无过多雕琢，将山野荒疏之境与幽居安和之意相融，浅淡设色晕出柔和静谧的氛围，藏着遁世丘壑、寄情林泉的文人襟怀，尽显静穆散淡的世外意趣。",[7,23,24,81,27,177,29,734,466,1365,107,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9054b9316da205782a3ee8906cbcf0e5.jpg",[],{"id":69573,"slug":69574,"title":69575,"dynasty":76,"author":29211,"museum":311,"description":69576,"tags":69577,"thumbUrl":69578,"material":139,"size":139,"collection":139,"collections":69579,"showCount":972,"zanCount":2209,"manualWeight":48,"mainColor":94},224272,"shan-shui-hua-hui-ce-san-fu-shan-224272","山水花卉冊(三)","此作用淡墨轻晕出层叠丘峦，留白铺陈出浩渺河川，近隅山居错落隐于浅坡之间，尽写荒寒清寂的郊野暮色。笔墨简率随性，舍去繁复皴擦，以清浅赭石晕染山骨，线条苍劲松脱，尽显疏朗之致。右上角行书题跋笔意舒展，书画相映，文气盎然。画师以简淡之墨写旅途中的日暮河居，将胸中山林丘壑落于纸上，清冷空濛的意境里藏着孤高疏放的文人襟怀，淡岚轻烟间，把羁旅所见化作文雅悠远的沉静天地。",[7,23,24,81,173,177,29,37,176,114,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86ff22e5320f10bfd5c660fa5f159a5.jpg",[],{"id":69581,"slug":69582,"title":69583,"dynasty":76,"author":60214,"museum":311,"description":69584,"tags":69585,"thumbUrl":69586,"material":139,"size":139,"collection":139,"collections":69587,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},224251,"chu-zheng-tu-zhou-xu-fang-224251","出征图轴","此作用淡赭晕染残阳暮色，远山层叠朦胧，戍楼孤峙山巅，猎猎军旗暗合将行肃穆。坡岸间人马错落，或缓行或伫立，寥寥数笔便将情态勾勒尽致，淡逸清润的笔触晕开边地荒疏萧索的氛围。\n\n左侧长题诗文与画作相映成趣，诗画合璧。整幅不施繁复皴擦，以极简笔墨烘托出征沉凝氛围，将将士临行之际的沉肃与边地苍茫糅合，于简淡悠远间暗蕴家国壮怀，尽显文人画融情于景的雅致意韵。",[7,23,24,173,27,225,29,106,150,1422,3620,865,808,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b0af847b142d6a46f5a7689443523df.jpg",[],{"id":69589,"slug":69590,"title":69591,"dynasty":76,"author":69592,"museum":311,"description":69593,"tags":69594,"thumbUrl":69595,"material":2164,"size":2165,"collection":139,"collections":69596,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},224250,"shan-shui-tu-zhou-ding-224250","山水圖","周薡","字伯龄，鄞（今浙江宁波）人。工于传神。先是有倪伯益写照逼真，鼎得其术，几突过之。人以碍之合中曾鲸。仲子天祚，季子乐克世其传。（《宁波府志》）",[7,1352,23,24,29,173,177,866,176,175,266,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3808d676bfb68e7dfb8f7407d4e4c53.jpg",[],{"id":69598,"slug":69599,"title":69600,"dynasty":99,"author":69601,"museum":311,"description":69602,"tags":69603,"thumbUrl":69604,"material":139,"size":139,"collection":139,"collections":69605,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":94},224206,"shu-hua-ce-ye-16-xiao-yun-cong-wu-guo-dui-224206","《书画册页》-16","萧云从 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绿意盎然。岸边屋舍隐现，远处红亭静立，一叶扁舟在水中轻荡，添了几分闲适。笔触细腻工致，设色雅致清新，山石以皴法勾勒纹理，树木枝叶描绘精工，整体意境清幽淡远，尽显江南水乡的温婉诗意，仿佛能嗅到林间草木气息，听到流水潺潺之声。",[23,225,28,27,177,29,108,109,174,175,34,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2828d72a158560f3d7671df2948dc8.jpg",[181],"afa083",{"id":71138,"slug":71139,"title":71140,"dynasty":99,"author":2146,"museum":78,"description":71141,"tags":71142,"thumbUrl":71143,"material":139,"size":139,"collection":181,"collections":71144,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":71145},201463,"dong-li-shang-ju-tu-zhou-tang-yin-201463","东篱赏菊图轴","苍松虬劲，枝蔓垂悬，松荫下秋菊点缀，雅致清逸。远山层叠，云雾轻笼，山石以皴法写就，线条灵动。近景文人对坐，或谈或赏，神态悠然，尽得东篱之趣。笔墨兼工带写，设色淡雅，将田园诗意与文人风骨融于尺幅，尽显超脱尘俗的闲适心境，是唐寅文人画风格的典型体现。",[23,24,225,29,106,403,407,175,177,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7d04c436d73e4692e2ae4764d9c82e.jpg",[181],"92897e",{"id":71147,"slug":71148,"title":71149,"dynasty":76,"author":71150,"museum":78,"description":71151,"tags":71152,"thumbUrl":71153,"material":139,"size":139,"collection":181,"collections":71154,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":71155},201448,"song-feng-jian-shui-tu-zhou-huang-ding-201448","松风涧水图轴","黄鼎","松风飒飒拂层岩，涧水泠泠穿石过。积雪覆峦，山石以皴法勾勒，线条刚劲中含秀润，墨色浓淡间显肌理。云雾缭绕处，楼阁隐于林麓，与自然相融。动静相宜间，尽显文人画的空灵雅致，笔墨藏趣，意境悠远。",[29,177,109,107,173,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b52e654023a8b22d9e4dfab800323c4.jpg",[181],"cdc1a8",{"id":71157,"slug":71158,"title":71159,"dynasty":99,"author":2494,"museum":78,"description":71160,"tags":71161,"thumbUrl":71162,"material":139,"size":139,"collection":181,"collections":71163,"showCount":972,"zanCount":48,"manualWeight":48,"mainColor":71164},201387,"shu-hua-he-juan-dong-qi-chang-201387","书画合卷","画卷铺展，烟波浩渺的水面横贯画面，远近山峦层叠错落，或巍峨雄浑，或秀逸多姿。岸边林木疏密有致，枝干虬曲苍劲，尽显自然意趣；几处小桥隐于水畔，与灵动的流水相映成趣。笔墨间，水墨晕染细腻，皴法运用精妙，线条婉转灵动，既蕴董其昌的笔墨神韵，又含吴伟业的文人雅致，整体清旷淡远，意境幽邃，引人入胜。",[23,24,25,173,29,177,108,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd589eaedc3a6f0cd2091369adaf9f3c.jpg",[181],"c8bfb1",{"id":71166,"slug":71167,"title":71168,"dynasty":76,"author":278,"museum":311,"description":71169,"tags":71170,"thumbUrl":71172,"material":2164,"size":2165,"collection":139,"collections":71173,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},290465,"qiu-shui-feng-qiao-tu-yi-ming-290465","秋水枫桥图","此作以水墨绘就秋山胜景，近岸老木盘虬，扎根嶙峋危石，寒枝疏朗尽染秋意，板桥轻卧浅波，林麓深处隐见村居野舍。中远景峰峦峭拔，以淡墨晕染出烟雨空濛的虚实层次，群雁掠过长天，秋水澹澹，汀渚间疏苇摇曳生姿。画作以枯淡与浓墨相映，笔意简远秀润，将江南晚秋的清寂萧疏铺陈开来，带着林下隐逸的澹泊意趣，尽现空灵冷隽的文人山水意境，藏着独属于秋日的澹泊诗意。",[7,23,24,29,173,177,866,108,109,266,4970,557,11128,71171],"枫桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35798ae6392615e12ec39cdfc4750e27.jpg",[],{"id":71175,"slug":71176,"title":71177,"dynasty":189,"author":645,"museum":311,"description":35057,"tags":71178,"thumbUrl":71179,"material":2164,"size":2165,"collection":139,"collections":71180,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},290410,"za-shu-san-duan-juan-zhao-meng-fu-290410","杂书三段卷",[7,86,25,178,24,263,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405c38a5bb969e86bf22169d1b7df2a.jpg",[],{"id":71182,"slug":71183,"title":22330,"dynasty":18,"author":278,"museum":311,"description":71184,"tags":71185,"thumbUrl":71188,"material":2164,"size":2165,"collection":139,"collections":71189,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},290248,"yun-feng-yuan-tiao-tu-yi-ming-290248","画面寥寥数笔，勾画出高峰、古树，及奇石、人物等元素，构图及树石写法皆属马远、夏圭一派，中国古代书画鉴定组定为宋人画，且偏于夏圭作品。",[7,23,209,1218,173,177,557,71186,37,10895,451,107,106,71187,19261],"云峰","远眺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d27eb9949fe301128687d27de049b0.jpg",[],{"id":71191,"slug":71192,"title":71193,"dynasty":18,"author":278,"museum":311,"description":59536,"tags":71194,"thumbUrl":71196,"material":2164,"size":2165,"collection":139,"collections":71197,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},290247,"han-tang-fu-lv-tu-yi-ming-290247","寒塘凫侣图",[7,23,209,24,81,27,28,83,402,3873,71195,178,86,263,18501],"寒塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d9f6860c1a5791e0c0d0f9ac00a1a4.jpg",[],{"id":71199,"slug":71200,"title":59326,"dynasty":18,"author":278,"museum":311,"description":47079,"tags":71201,"thumbUrl":71202,"material":2164,"size":2165,"collection":139,"collections":71203,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},290245,"shan-ju-dui-yi-tu-yi-ming-290245",[7,1352,23,209,173,29,107,1365,4969,22583,3723,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d0ed0a8274280bc753718e1506b4b0.jpg",[],{"id":71205,"slug":71206,"title":71207,"dynasty":18,"author":278,"museum":311,"description":47079,"tags":71208,"thumbUrl":71209,"material":2164,"size":2165,"collection":139,"collections":71210,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},290243,"shan-lou-yuan-tiao-tu-yi-ming-290243","山楼远眺图",[7,23,1352,29,107,9889,1265,3875,27,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59f5282e9e32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字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[7,209,23,24,25,173,263,86,2570,178,622,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[328],{"id":71589,"slug":71590,"title":71591,"dynasty":99,"author":71592,"museum":20,"description":71593,"tags":71594,"thumbUrl":71596,"material":699,"size":71597,"collection":328,"collections":71598,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},240024,"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[7,86,25,178,105,263,173,1116,136,2607,5048,4656,71595,282,62,734,18916,2279,229],"浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[328],{"id":71600,"slug":71601,"title":71602,"dynasty":99,"author":71603,"museum":311,"description":71604,"tags":71605,"thumbUrl":71606,"material":139,"size":139,"collection":328,"collections":71607,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},239885,"shou-xu-juan-wen-ti-ren-239885","寿序卷","温体仁","温体仁（1574年1月1日-1638年8月11日） ，字长卿，号员峤，浙江湖州府乌程县（今浙江省湖州市南浔区）人。明朝末年大臣，崇祯年间的内阁首辅之一。\n温体仁于万历二十六年（1598年）进士，选为庶吉士，万历年间历任翰林院编修、南京国子监司业、左谕德、左庶子、少詹事等职。天启年间升为礼部右侍郎兼翰林院侍读。崇祯初年升南京礼部尚书、礼部尚书，与周延儒联手阻止钱谦益入阁，并以“孤忠”“廉谨”的形象取得了崇祯帝的赏识与信任。崇祯三年（1630年）六月以礼部尚书兼东阁大学士，跻身内阁，成为次辅，两年半后累升至少傅兼太子太傅、吏部尚书、建极殿大学士。在此期间，他与首辅周延儒互相倾轧，并在崇祯六年（1633年）六月扳倒周延儒，自己取而代之，翌年晋升中极殿大学士，加少师。崇祯十年（1637年）六月因欲置钱谦益于死地而被崇祯帝怀疑“有党”，不得不辞职致仕。翌年病死于家中，享年六十六岁（虚岁）。崇祯帝追赠他为太傅，赐谥号“文忠”。\n温体仁为崇祯朝阁臣中居位最久者，辅政期间，明朝内忧外患的局势逐渐恶化。他几乎没有任何重要的建树与对策，而是一味排斥异己、迎合皇帝，尤其受到原东林党人士的憎恨。清修《明史》将他列入“奸臣传”。",[7,24,25,86,178,621,263,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae99c514dd9ba09f3b7efe1dc314d8ff.jpg",[328],{"id":71609,"slug":71610,"title":71611,"dynasty":189,"author":71612,"museum":311,"description":71613,"tags":71614,"thumbUrl":71615,"material":139,"size":139,"collection":139,"collections":71616,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},239672,"chun-hui-tang-ji-juan-ou-yang-xuan-239672","春晖堂记卷","欧阳玄","《春晖堂记》卷是元代欧阳玄创作的楷书书法作品。\n署款：“国史冀郡欧阳玄记”，款下钤“冀郡欧阳玄印”。\n鉴藏印有清安岐、乾隆内府、嘉庆内府、宣统内府诸印。\n卷后有元张翥、吴当、贡师道、程益四家题诗。\n《春晖堂记》是欧阳玄为王伯善的“奉亲之堂”所撰并书的记文。\n文中赞扬了王伯善对母亲的孝敬，同时又歌颂了王母的贤惠。\n从文中可知，此奉亲之堂名“春晖”,是当时的文人吴养浩据唐孟郊“谁言寸草心，报得三春晖”的诗意而起。\n此卷后面的诗跋咏颂的都是王伯善奉孝母亲之事，而不是对欧阳玄书法的评价。\n此书学苏轼，笔法浑厚稳健，刚劲流畅，笔画精到，起承转折分明，结体方扁，分间布白极其匀称，是欧阳玄合文章、书法为双美的代表作品。\n欧阳玄（？-157）字原功，号圭斋，浏阳人。\n祖籍江西。\n系欧阳修的族裔。\n清康熙年间修浏阳县志时因避康熙皇帝玄烨讳，改玄为元，所以又有欧阳元之称。\n115年（元延二年），取中进士第三名，为官4余年先后六入翰林，两为祭酒，两任主考，以史学成就最为突出，同时也以诗文闻名天下，因其学识渊博，文绩卓著，人称“一代宗师”。",[7,209,23,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc486d24397cc66b8fc169a4d8a916a62.jpg",[],{"id":71618,"slug":71619,"title":71620,"dynasty":18,"author":71621,"museum":206,"description":71622,"tags":71623,"thumbUrl":71624,"material":139,"size":139,"collection":328,"collections":71625,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},239645,"shou-xia-tie-ye-wang-sheng-239645","首夏帖页","王升","父王举逸，性至孝，郡县孝廉不就，慷慨好义，急人之急，曾令仆人驾船救溺，全活数十人。王升幼承家训，立志力学。明永乐元年(1403年)，乡试中举，永乐二年成进士，选翰林院庶吉士，奉敕到江西搜求遗书。复命后，先后任江西安福、湖广罗田二县知县，都有善政，调陕西平凉府推官，历升大理寺左评事，大理寺左寺正，复审刑部、都察院、五军断事官署所移狱讼案牍，务得其实，多所平反。当时有锦衣卫张千户系狱，定为死谳，升省其冤，遂予平反。宣德五年(1430年)五月，宣宗以知府多循资格不称职，其时有重要九郡缺守，命大臣举京官廉能者充任。遂擢郎中况锺等9人为知府。这年冬，复用薜广等29人任知府。王升受宰相杨士奇荐举，出任江西抚州(今属临州市地)知府。为政重在利民，设学校，兴礼教，遇到荒年，率先捐俸赈济，全活数千人。任职9年，秩满当迁，州民相率到京师，呈请留任，朝廷遂赐王升帛，进阶正三品，并准续任。经过两年，因病辞归。正统十三年(1448年)谢世，葬鹤鸣铺恒坑山。后人祀府学乡贤祠。《明史·循吏传》有小传",[7,86,178,263,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891453a5159e74f901fc904e2cc336a2.jpg",[328],{"id":71627,"slug":71628,"title":61532,"dynasty":189,"author":61533,"museum":20,"description":61534,"tags":71629,"thumbUrl":71630,"material":3071,"size":61537,"collection":328,"collections":71631,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},239565,"fa-jian-ye-tie-ye-li-xiao-guang-239565",[7,86,178,622,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c906c6059d7c65244bf7feabf0eba3.jpg",[328],{"id":71633,"slug":71634,"title":71635,"dynasty":76,"author":71636,"museum":311,"description":71637,"tags":71638,"thumbUrl":71639,"material":1271,"size":139,"collection":139,"collections":71640,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},234245,"chen-shu-hua-si-zi-jiang-de-juan-chen-shu-234245","陈书画四子讲德卷","陈书","陈书（1660–1736）是清代女画家。陈书出生于浙江省秀州（今嘉兴），以字“南楼”及号“上元弟子”、“南楼老人”著称。陈书被认为是清代第一位女画家，以及秀水画派的开创者。除了她本人的艺术成就外， 陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[7,209,23,24,25,27,28,178,263,29,1365,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":71642,"slug":71643,"title":71644,"dynasty":76,"author":71645,"museum":20,"description":71646,"tags":71647,"thumbUrl":71648,"material":40,"size":71649,"collection":139,"collections":71650,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},234189,"jin-jie-ren-hua-xiang-ding-gao-234189","靳介人画像","丁皋","画面表现的是暮春时节，茅亭绿柳，渚清荷新，一士人左手执卷，右手扶膝，正襟危坐于岸边石凳上，身旁石几上置书函、茗盏之属，一小童执扇对炉烹茶。环境清新雅逸，文人雅士闲适的生活情景跃然纸上。\n从题跋内容分析，画中主人公靳介人为官吏，但具体行状不详，尚待进一步考察。画中人物的表现方法与波臣派风格略有差异，面部平涂较多，皴染不足，故而显得较平，但眉宇间神气盎然，亦为传神之佳作。在波臣派作品中，将人物置于山水之间的肖像画多为合作之画，有喧宾夺主者，有人、景布置不谐者，而此图情景合一，将人融于景物之中，通过环境衬托人物清逸的品质，无疑是一件成功之作。",[7,23,24,28,27,106,1322,282,136,175,385,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf56539146803162af663c1bb64e0bbb.jpg","纵36厘米，横131.8厘米",[],{"id":71652,"slug":71653,"title":71654,"dynasty":99,"author":278,"museum":20,"description":71655,"tags":71656,"thumbUrl":71657,"material":1142,"size":71658,"collection":139,"collections":71659,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},234177,"ming-ren-bai-niu-tu-juan-yi-ming-234177","明人百牛图卷","此卷以平远视角铺展郊野水畔全景，群水牛或卧憩坡岸、或涉水抵角、或缓步悠游，百牛神态灵动无一处重样，尽显生趣。\n画师以水墨晕染区分皮毛虚实质感，浓墨点出牛角与眼眸，朴拙间不失细腻。坡岸枯木杂树以简劲笔法写出，浅淡墨色晕出水边苔草朦胧之态，晕染出江南郊野温润空寂的氛围感。\n画面疏密排布精妙，群牛错落铺陈繁而不乱，留白衬出郊野旷远意境，暗合宋式牧画的闲逸意趣，将田园牧歌的松弛诗意定格卷中，静中藏动，朴雅天真。",[7,23,25,173,28,151,384,385,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704fa276913da6761043b6065ada12e0.jpg","纵28.7cm，横377.5cm",[],{"id":71661,"slug":71662,"title":71663,"dynasty":99,"author":71503,"museum":311,"description":71664,"tags":71665,"thumbUrl":71667,"material":139,"size":139,"collection":139,"collections":71668,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},234165,"lin-mou-yi-shan-ze-za-shu-zhou-zhuang-juan-ma-yu-234165","临缪佚山泽杂树轴装卷","马愈， 明代书画家。字抑之，号华发仙人，人号 马清痴，嘉定（今属 上海市）人。其父 马轼曾以星占服务于军中，又是著名的院体画家。马愈于 明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有 《马氏日抄》一卷。",[7,23,24,25,105,173,177,178,263,29,71666,176,109],"杂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd053d0aa504c020ce53dd9906b558821.jpg",[],{"id":71670,"slug":71671,"title":71672,"dynasty":76,"author":3827,"museum":20,"description":61441,"tags":71673,"thumbUrl":71676,"material":841,"size":61444,"collection":139,"collections":71677,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},232891,"yan-ju-luo-han-xiang-zhou-jin-ting-biao-232891","岩居罗汉像轴",[7,23,27,28,243,106,29,229,34,558,263,5188,23773,468,71674,7803,23598,71675,3861,44427,8043,225],"山洞","腕钏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b7bb574e8613ec65f5335044ec6a.jpg",[],{"id":71679,"slug":71680,"title":39999,"dynasty":189,"author":645,"museum":311,"description":35057,"tags":71681,"thumbUrl":71682,"material":2164,"size":2165,"collection":139,"collections":71683,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},232833,"bai-miao-luo-han-tu-juan-zhao-meng-fu-232833",[7,209,23,24,25,243,244,106,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985a756bb7fba498c697a86c800475dd.jpg",[],{"id":71685,"slug":71686,"title":71687,"dynasty":76,"author":1473,"museum":311,"description":21972,"tags":71688,"thumbUrl":71689,"material":2164,"size":2165,"collection":139,"collections":71690,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},232827,"zi-zuo-shi-jin-nong-232827","自作诗",[7,1352,86,5405,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5c3c65c2f0a8cd4b3fa79e7b0c5b5d.jpg",[],{"id":71692,"slug":71693,"title":71694,"dynasty":76,"author":18846,"museum":311,"description":55804,"tags":71695,"thumbUrl":71697,"material":699,"size":139,"collection":139,"collections":71698,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},232684,"shu-fa-dan-pian-hong-yi-fa-shi-232684","书法单片",[7,76,86,178,263,71696,173],"单片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb50d0a501ffc161b95b63475fcca0.jpg",[],{"id":71700,"slug":71701,"title":71702,"dynasty":277,"author":71703,"museum":311,"description":71704,"tags":71705,"thumbUrl":71707,"material":139,"size":139,"collection":139,"collections":71708,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[7,23,24,25,173,27,244,178,263,400,15230,27236,49272,17531,1365,1712,928,6739,17558,433,12752,71706,106,512,2279,795,808],"猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":71710,"slug":71711,"title":71712,"dynasty":277,"author":278,"museum":311,"description":71713,"tags":71714,"thumbUrl":71715,"material":2164,"size":2165,"collection":139,"collections":71716,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},231810,"kuang-seng-cao-zhi-tu-juan-yi-ming-231810","狂僧草纸图卷","以纯臻白描铺展长卷，铁线爽利洗练，不着一色却尽揽烟火躁动。从巷陌行伍到廊舍嬉闹，再转至烈焰惊惶，全景式铺陈出喧嚷乱象。屋宇架构以界画工整流利排布，衬出人物跳脱狂放。\n\n画中人物形神各异，或桀骜持械、恣肆狷狂，或仓惶奔逃、面露惊惶，将凡俗众生的情态一一铺陈。整卷叙事流畅自然，呼喝、惊呼仿佛随线条涌出，以极简笔墨勾勒出饱满鲜活的群像张力，尽显白描线条的叙事表现力与传神功力。",[7,23,24,25,244,104,106,107,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a599632024e0b5216cd04eb2ced3.jpg",[],{"id":71718,"slug":71719,"title":71720,"dynasty":277,"author":278,"museum":311,"description":71721,"tags":71722,"thumbUrl":71723,"material":2164,"size":2165,"collection":139,"collections":71724,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},231776,"liu-qiu-feng-su-tu-juan-er-yi-ming-231776","琉球風俗图卷二","此作以工笔设色写实地铺展祭祀仪典。左侧俯瞰石砌祠宇墓垣，石纹朴拙厚重，匠人负具驻足，衬出场地的肃穆沉静。右侧仪仗队列绵长严整，旗幡舒卷，僧俗诸人衣冠有别，执事者持礼器、掌仪卫，依序徐行，将丧葬祭祀的仪轨细腻铺陈。\n\n设色淡雅克制，青、朱、褐诸色点缀素底，晕染出典仪的庄重氛围，笔致写实入微，将旧时琉球的民俗风貌凝于卷上，让湮没的礼制场景鲜活重现，是具象生动的民俗纪实佳作。",[7,23,24,25,28,27,106,114,4140,8760,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2fd02bb4d8ab679342e0a3bbe2b7c.jpg",[],{"id":71726,"slug":71727,"title":71728,"dynasty":277,"author":278,"museum":311,"description":71729,"tags":71730,"thumbUrl":71731,"material":139,"size":139,"collection":139,"collections":71732,"showCount":1009,"zanCount":2209,"manualWeight":48,"mainColor":94},231769,"xi-yang-jian-wen-tu-hui-2-shan-shui-xiang-gang-juan-yi-ming-231769","西洋见闻图绘-2-山水香港卷","此作为工写兼施的通景长卷，以淡赭花青晕染层叠峰峦，勾勒出山海相依的清润意境。画面右侧洋商埠地烟火稠密，公署高悬洋旗，尽显开埠后的异域风貌；海面之上中式艚船与西式夹板商船错落停泊，帆樯林立。\n\n整作将传统山水画的雅致笔墨，用于纪实描摹近代港埠盛景，既保留了传统山水的空蒙气韵，又细致还原了中西交汇的滨海日常，兼具审美价值与纪实史料意义，静然铺展出近代中外通商的鲜活图景。",[7,23,25,27,29,111,114,10496,27361,4140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb12ba86048fff4f09195dafa84d05d1.jpg",[],{"id":71734,"slug":71735,"title":71736,"dynasty":277,"author":59090,"museum":311,"description":71737,"tags":71738,"thumbUrl":71739,"material":2164,"size":2165,"collection":139,"collections":71740,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},231744,"jiang-hu-shi-dai-gong-yu-tan-s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公余探胜图卷-二分段","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[7,23,24,25,27,29,558,34,1365,4064,10496,111,37,1265,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":71742,"slug":71743,"title":71744,"dynasty":277,"author":59090,"museum":311,"description":71737,"tags":71745,"thumbUrl":71746,"material":2164,"size":2165,"collection":139,"collections":71747,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},231743,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-yi-fen-duan-gu-wen-chao-231743","江户时代 公余探胜图卷-一分段",[7,23,27,29,25,32596,10496,558,34,14225,111,62706,2279,434,27362,1365,38,21279,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":71749,"slug":71750,"title":71751,"dynasty":277,"author":278,"museum":311,"description":71752,"tags":71753,"thumbUrl":71755,"material":2164,"size":2165,"collection":139,"collections":71756,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},231734,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-er-ping-yi-ming-231734","江户时代 洛中洛外图屏风-二屏","以金箔为底，借云气划分场景，全景铺展往昔都城的鲜活世态。屋舍错落排布，仪仗穿街过巷，茶肆中宴饮正酣，林泉处雅士闲游。贩夫走卒与簪冠仕族各司其态，笔触细密勾勒出烟火日常与仪典盛事。冷金底色晕开雅致华贵，揉合俗世喧嚣与林下闲情，将浮生百相凝于尺幅之间，每一处细节都是鲜活的时代切片，铺就出一卷饱满生动的市井风华长卷。",[7,71754,27,104,28,106,107,108,109,34,35,150,1365],"屏风画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32431e1bd8f82df0dddc0ac69376e45.jpg",[],{"id":71758,"slug":71759,"title":71760,"dynasty":277,"author":71761,"museum":311,"description":71762,"tags":71763,"thumbUrl":71764,"material":2164,"size":2165,"collection":139,"collections":71765,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},231726,"lian-cang-shi-qi-zhen-shou-shen-ren-hui-xi-tu-juan-ruo-xia-guo-231726","鎌仓时期 镇守神人绘系图卷","若狭国","日本古代的令制国之一，属北陆道，又称若州。若狭国的领域大约为福井县的岭南。",[7,9700,24,25,27,106,107,175,243,28,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5299f5c116a0eed7fa5bc763bc696ac1.jpg",[],{"id":71767,"slug":71768,"title":71769,"dynasty":277,"author":71770,"museum":311,"description":71771,"tags":71772,"thumbUrl":71773,"material":2164,"size":2165,"collection":139,"collections":71774,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},231678,"lian-cang-shi-qi-gong-jia-lie-ying-tu-teng-yuan-xin-shi-231678","镰仓时期 公家列影图","藤原信实","淡墨清线勾勒出两列公家贵族，乌帽峨然，狩衣宽博舒展。人物姿态相近却神情微异，或垂目持简，或侧首敛容，笔致清劲秀雅，浅淡晕染衬出衣料的柔和质感，将旧族的矜贵端方缓缓铺展。\n\n长卷如徐徐展开的朝会剪影，队列带着仪式般的肃穆静雅，把贵族朝会的仪制风范凝在素纸之上。笔底藏着入微的观察，淡逸笔触间留存古雅和风，静穆中尽显旧时宫廷的规整气度，让千年前的朝堂群像鲜活如初。",[7,25,244,28,106,63,24,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fdb5de6b2482a313e94254382da1c3.jpg",[],{"id":71776,"slug":71777,"title":71778,"dynasty":277,"author":71779,"museum":311,"description":71780,"tags":71781,"thumbUrl":71782,"material":139,"size":139,"collection":139,"collections":71783,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},231581,"jiang-hu-shi-dai-xiao-xiang-ba-jing-tu-juan-shou-ye-chang-xin-231581","江户时代萧湘八景图卷","狩野常信","此作用淡墨轻晕出空濛烟岚，山峦在水雾里迤逦起伏，或显或隐，晕染出悠远的纵深。江面烟波浩渺，归雁列队掠过长空，江渚间村居错落、渔舟泛波，林舍与茂树点缀水岸，将水乡闲逸日常藏进山水间。\n画家以极简笔墨勾勒物象，淡彩点染草木，把潇湘山水的清寂灵秀揉进温润雅致的笔墨意趣里，整体意境澹泊空灵，将烟波水乡的幽远禅意晕散开来，仿佛能闻见水畔林风，窥见渔樵往来的悠然日常，尽显山水间的澹然诗意。",[7,23,25,173,27,29,177,175,174,266,107,109,176,34,285,867,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf1073186518574b343a552415ea54d.jpg",[],{"id":71785,"slug":71786,"title":71787,"dynasty":76,"author":16528,"museum":311,"description":71788,"tags":71789,"thumbUrl":71790,"material":699,"size":71791,"collection":139,"collections":71792,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},231566,"yu-hu-qiu-fan-tu-fei-dan-xu-231566","玉湖秋泛图","题跋：〈鲍正言〉（词一首，不录）筱溪尊兄先生属题即正。丙午九秋衍香鲍言草稿。\n〈朱紫贵〉（七律一首，不录）道光辛丑孟陬题奉筱溪宗兄雅正。\n斋贵书于西泠学舍。\n〈朱步沆〉（七律二首，雨不录）用初白先生中方舟夹山瀁韵二首题\n应筱溪三兄雅属希政之。时壬寅六月二十五日沁泉沆甫\n稿。\n〈奚疑〉（词一首，不录）丁亥冬余招同人泛舟夹山瀁诗雨生都督\n缋图纪游。筱溪三兄先生属新填蝶恋花词，录请敦正。\n方屏山樵奚疑稿。丙午十月，时年七十有二也。\n〈达受〉（七律二首，不录）咸丰五年乙卯七月二十有二日，小诗\n题奉筱溪先生玉照并祈政句。南屏迟隐憎六舟达受未定稿。",[7,23,24,25,27,173,28,178,86,263,29,106,174,3899,1253,9981,1265,14225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a59c2367b4d88e6db4c04a1ccd7115.jpg","引首：33.5×110.5cm 本幅：34×105.5cm 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日月山水图屏风-日屏","此作以云气横分天地，上半段飞泉叠流于苍绿岩岫，金地衬出山野清旷仙气，留白的水色灵动通透，晕染出幽寂空远的山林意趣。\n\n下半段苍崖伴着涡卷水纹，苔点轻缀石面，古雅朴拙的设色带着侘寂况味。敷色古旧厚重，却将山水灵秀融于沉静笔意间，以简驭繁，把悠远禅意藏于斑驳绢面，尽显东方山水空濛虚灵之美，笔简意足，勾勒出幽谧出尘的山水之境。",[7,23,27,26,299,29,466,2279,176,23785,19073,18916],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a5a169c7bb1db40e61ea5461dce240.jpg",[],{"id":71825,"slug":71826,"title":71827,"dynasty":277,"author":60845,"museum":311,"description":60846,"tags":71828,"thumbUrl":71829,"material":2164,"size":2165,"collection":139,"collections":71830,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},230491,"jiang-hu-shi-dai-shan-ye-xing-le-tu-ping-feng-yi-ping-yu-xie-wu-cun-230491","江户时代 山野行乐图屏风-一屏",[7,299,173,27,177,13178,29,734,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce6136ac3abe35cf6a8933992871d3c.jpg",[],{"id":71832,"slug":71833,"title":47332,"dynasty":277,"author":47333,"museum":311,"description":71834,"tags":71835,"thumbUrl":71836,"material":139,"size":139,"collection":139,"collections":71837,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},230481,"fu-shi-hui-juan-mu-he-tian-wen-cun-230481","整卷以行进铺展市井嬉游图景，从左至右，妇孺牵携慢行，货郎肩挑玩偶小物，紧随其后的乐人们吹笛弄鼓、踏歌起舞，持扇艺人身姿诙谐夸张，孩童蹦跳着追逐嬉闹，收尾的女舞者扬板作拍。\n\n设色柔和淡雅，衣装纹样朴拙讨喜，每一位人物神态各有意趣，鲜活复刻出庶民节庆游行的松弛热闹，将民间日常的融融烟火气定格素纸，尽显聚焦俗世日常的温润意趣。",[7,13178,25,27,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe44c1b67e7732d5322ae0eb0f15c4ef5.jpg",[],{"id":71839,"slug":71840,"title":71841,"dynasty":76,"author":522,"museum":311,"description":71842,"tags":71843,"thumbUrl":71847,"material":139,"size":139,"collection":139,"collections":71848,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},228973,"niu-jiao-gua-shu-tu-huang-shen-228973","牛角挂书图","此作以枯淡古雅的色调铺陈，老梅盘曲苍劲，枝桠疏朗错杂，荒岩皴笔朴拙，衬出山野清寂之气。骑牛垂读者安然沉湎卷帙，将乱世中偷闲向学的意态藏于松弛悠然的身姿里。\n\n另一侧人物情态各别，执圭者倨傲自得，仆从躬身低眉，虬髯汉抱臂冷眼，似是俗务应酬的世情剪影。雅俗两相对照，暗合安贫乐道与追名逐利的分野，以简练灵动的笔墨勾勒人物形神，把山野幽趣与市侩世情融于一轴，寄寓着对沉潜向学本心的推崇。",[7,23,209,106,151,402,865,558,177,27,71844,71845,60382,71846],"安贫乐道","向学","世情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6e143aa6327450ab8a6b916907ab2.jpg",[],{"id":71850,"slug":71851,"title":71852,"dynasty":76,"author":71853,"museum":311,"description":71854,"tags":71855,"thumbUrl":71856,"material":2164,"size":2165,"collection":139,"collections":71857,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},228946,"guan-fu-zi-xiang-zan-da-li-shan-228946","关夫子像赞","达礼善","此作为白描拓本，以凝练遒劲的铁线线条勾勒身姿。丹凤眼微阖，美髯垂覆胸腹，主君踞坐于兽皮之上，宽袍玉带衬出魁梧身形，眉眼间沉静威严，不怒自威。衣纹走线婉转流畅，将布料垂坠质感与人物沉稳气度相融，把武将的沉雄与儒将的儒雅揉为一体。素色拓底晕开古雅肃穆的氛围，以极简的笔墨承载起厚重的忠义内核，尽显传统造像的精妙意趣，让武圣的凛凛风骨跃然纸上。",[7,23,244,106,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fdf3be87f9db349680da7dd4c927e9.jpg",[],{"id":71859,"slug":71860,"title":71861,"dynasty":99,"author":71862,"museum":311,"description":71863,"tags":71864,"thumbUrl":71865,"material":139,"size":139,"collection":139,"collections":71866,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},228900,"xiao-fu-tu-juan-zhang-feng-bu-tu-gu-meng-you-228900","啸赋图卷张风补图","顾梦游","水墨淡绘峰林幽谷，隐者策杖独行，留白疏淡间，漾出幽远超尘的林下意趣。随行行书长卷笔致秀雅舒展，录就《啸赋》全篇，笔墨清逸萧散，与画境相映成趣。\n\n书画合璧，将赋文里寄怀烟霞、啸傲林泉的隐逸襟怀融于卷中，明人尚雅的高致风流尽在其中，文、书、画相生相融，勾勒出古贤遁世丘山的澹泊襟怀。",[7,209,23,24,25,244,173,29,229,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2daf2a4d157139ac44e11d0373f8546.jpg",[],{"id":71868,"slug":71869,"title":71870,"dynasty":99,"author":278,"museum":311,"description":71871,"tags":71872,"thumbUrl":71873,"material":2164,"size":2165,"collection":139,"collections":71874,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},228815,"xi-lv-gong-ao-tu-yi-ming-228815","西旅贡獒图","图中描绘一位高鼻深目、长满胡须的胡人，手牵獒犬，坐在皇宫外的汉白玉台阶上等待进贡。早在先秦时期，西部少数民族便开始向中原进贡獒犬。《尚书·旅獒》记载：“惟克商，遂通道九夷八蛮，西旅厎贡厥獒。”按孔颖达注疏，“西旅”是指西部羌族。《尚书·旅獒》篇是劝戒帝王不能因喜好所贡獒犬而“玩物丧志”，而“贡獒图”则是用以歌颂帝王的武功，表现“万国来朝”的气势，“贡獒图”在历代有多种不同形式的表现",[7,23,24,209,27,28,106,808,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b13791168de75f3c217969bac8db20.jpg",[],{"id":71876,"slug":71877,"title":71878,"dynasty":99,"author":278,"museum":311,"description":71879,"tags":71880,"thumbUrl":71881,"material":139,"size":139,"collection":139,"collections":71882,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},228788,"han-jiang-yu-jia-tu-yi-ming-228788","寒江渔家图","此作用淡墨晕染出萧寒冬日的江野之景。前景老树虬曲苍劲，枯槎间缀着残雪与点点红萼，荒寒里透出一缕生机。寒江之上，孤舟泛波，舟头渔者瑟缩，暗合冬日生计的清苦。远山覆雪，以淡笔轻勾，衬出江天空蒙冷寂。全画笔法简淡空灵，将江乡冬日的荒寒静穆悉数铺展，把渔家漂泊的清寂与山水的悠远相融，于萧索冷冽的意境里，藏着水墨山水独有的空雅致趣，尽显冬日江野的澹泊清寂之美。",[7,23,27,29,174,865,176,6868,867,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af03191cefa620a2ca42015524e4fb9.jpg",[],{"id":71884,"slug":71885,"title":71886,"dynasty":99,"author":278,"museum":311,"description":71887,"tags":71888,"thumbUrl":71889,"material":139,"size":139,"collection":139,"collections":71890,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},228776,"lin-xi-xian-tiao-tu-yi-ming-228776","临溪闲眺图","此作用笔苍润兼具，以淡墨晕染远山，虚影朦胧融于空濛雾气，将天地寥廓的悠远意境缓缓铺展。近岸古木虬枝错盘，枯梢与繁叶互生，浓墨点染层叠木叶，沉郁间尽显苍劲生机。\n\n溪面空阔无波，渔人收舟立岸，简笔勾勒的身影意态悠然，静眺林泉烟景。整幅以水墨皴擦晕染相融，以极简物象铺陈出山林幽居的散淡意趣，萧疏野逸间藏着出世闲雅的山居况味，观之便如身临幽寂林泉，涤去尘俗喧嚣。",[7,23,1218,225,177,27,34,7803,176,8396,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177849b6e577db11274d711ecbe88233.jpg",[],{"id":71892,"slug":71893,"title":71894,"dynasty":99,"author":58078,"museum":311,"description":71895,"tags":71896,"thumbUrl":71897,"material":139,"size":139,"collection":139,"collections":71898,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},228744,"xiao-jing-song-huang-dao-zhou-228744","孝经颂","《孝经集传（经部孝经类）\u002F中外哲学典籍大全》是22年9月1日中国社会科学出版社出版的图书，作者是[明] 黄道周 。\n《孝经集传》是明末大儒黄道周后期的著作。\n该书提炼出《孝经》的“五微义”与“十二著义”，不仅每一章有黄道周自己的诠释，还分别以二戴记、《仪礼》、《孟子》等作为义疏，认为《孝经》是六经之本，体现了黄道周后期思想中回归六经、经世致用的倾向。\n黄道周一生学在《周易》，行在《孝经》，《孝经集传》的学术价值正与其伟大气节相互辉映。\n由于该书成书历时六年，推衍极深，深为后世推许，因而《孝经集传》不仅是黄道周思想研究的必要文本，同时还是中国孝经学研究的重要著作。\n进孝经集传序 孝经集传卷一 开宗明义章第一 天子章第二 诸侯章第三 卿大夫章第四 士章第五 庶人章第六 孝经集传卷二 三才章第七 孝治章第八 圣德章第九 孝经集传卷三 纪孝行章第十 五刑章第十一 广要道章第十二 广至德章第十三 孝经集传卷四 广扬名章第十四 谏静章第十五 感应章第十六 事君章第十七 丧亲章第十八 附一 历代孝经集传序跋 明刻本孝经集传众弟子跋 康熙本孝经集传序一 康熙本孝经集传序二 康熙本孝经集传序三 四库提要 孝经集传钞序 孝经集传序 跋黄忠端楷书孝经墨刻 附二 清代以来对孝经集传的相关评价 附三 黄道周论孝八篇 孝纪序 书古文孝经後 书孝经别本後 书孝经颂後 书圣世颁孝经颂後 孝经颂 圣世颁孝经颂 孝经辨义 主要参考文献",[7,86,621,263,5153,5152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2f527ade0e12dbadf5a04abb1f726a.jpg",[],{"id":71900,"slug":71901,"title":60497,"dynasty":99,"author":16587,"museum":311,"description":71902,"tags":71903,"thumbUrl":71904,"material":2164,"size":2165,"collection":139,"collections":71905,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},228435,"qi-yan-shi-zhang-rui-tu-228435","张瑞图（1570年-1644年），字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[7,86,2570,263,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d60b702fb244e9565cc8752079f0d5.jpg",[],{"id":71907,"slug":71908,"title":71909,"dynasty":99,"author":31173,"museum":311,"description":71910,"tags":71911,"thumbUrl":71912,"material":2164,"size":2165,"collection":139,"collections":71913,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},228338,"shi-zhou-ling-ben-wang-duo-228338","诗轴绫本","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[7,86,178,2570,225,21783,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa99ec2c22995307e8c020f20c2c3cd5f.jpg",[],{"id":71915,"slug":71916,"title":41105,"dynasty":99,"author":5076,"museum":311,"description":71917,"tags":71918,"thumbUrl":71919,"material":2164,"size":2165,"collection":139,"collections":71920,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},228278,"wu-yan-shi-chen-ji-ru-228278","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[7,209,23,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45af0e2b190495cfb4d69b5a01f05ee.jpg",[],{"id":71922,"slug":71923,"title":71924,"dynasty":189,"author":278,"museum":311,"description":71925,"tags":71926,"thumbUrl":71927,"material":2164,"size":2165,"collection":139,"collections":71928,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":629},228193,"zhun-zhi-guan-yin-xiang-ping-an-shi-dai-yi-ming-228193","准胝观音像平安时代","本作品的准胝观音身体涂白，以朱线勾勒轮廓。宝冠上贴有金箔，墨线勾勒，头发涂略带灰色的淡绿色。衣裙及莲华宝座为略显灰色的白色及淡褐色、淡青、淡绿等，多用混有白色颜料的中间色。轮廓线也用墨线勾勒，装饰台座的花瓣类的轮廓为白色线。而且衣裙上用纤细的细金箔表现出各种的图案，腿腹的膨胀部分等采用白色表现出照晕（佛画的一种表现手法，采用明暗体现出立体感），衣服的褶皱也施有与底色同系统稍浓的色彩制出段晕（绘画表现手法），画像整体呈现院政时期佛画所特有的柔和优美的感觉。另一方面，虽然现在作品已经泛黑，但是头光、背光的一部分在强调交织的细金箔图案的同时，却以银截金、截箔构成的图案为主，从天盖垂下的璎珞也采用细银箔表现出稳重的光辉。而其周围的四天王上的金属构件类都施有里箔（日本绘画技法，从绢底里侧贴上金银箔），整体的色彩稍暗，以墨线的轮廓线条为主，对足边岩石台座的描绘，以及对天衣、冠缯的动态描写等，都可见镰仓时代的主流表现要素。此作品巧妙的改变表现手法以凸显主题的主次关系，从而形成了考究画面，令人感觉到自平安时代至镰仓时代的时代变迁。",[7,23,24,225,243,27,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e188f072a473e4c2abfdabc9e629cf.jpg",[],{"id":71930,"slug":71931,"title":71932,"dynasty":18,"author":278,"museum":311,"description":71933,"tags":71934,"thumbUrl":71935,"material":139,"size":139,"collection":139,"collections":71936,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},227895,"cheng-jiang-bi-xiu-tu-yi-ming-227895","澄江碧岫图","此作为宋代青绿山水小品，取半边构图，左畔山石以石青石绿晕染，苍润古雅，坡岸松荫蔚然，隐见茅舍山居，野意悠然。右侧铺陈空阔澄江，几叶扁舟随波缓行，远山以淡墨轻扫晕染，在赭色绢底烘托下，将尺幅小景延展为辽远空濛的水天之境。\n\n全画色调沉静古拙，雅致内敛，把江南平远山水的清寂空阔，与山居的安闲悠然相融。咫尺尺幅间尽显宋人观照山水的澹泊意趣，见微知著，藏着江南烟水的沉静诗意，尽显院体小品的清丽雅致。",[7,209,23,24,1352,27,29,174,384,385,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebd0603c9adc30af9685e06d3a0274a.jpg",[],{"id":71938,"slug":71939,"title":71940,"dynasty":18,"author":278,"museum":311,"description":71941,"tags":71942,"thumbUrl":71943,"material":139,"size":139,"collection":139,"collections":71944,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},227875,"liu-tang-qiu-cao-tu-yi-ming-227875","柳塘秋草图","此作以淡墨晕染水天，将清秋的空濛萧索揉在氤氲水汽中。左侧岸渚垂柳成林，枝叶以细笔点染如烟似雾，把秋的清柔藏在垂绦之间。水面留白处点缀浅渚芦草，笔墨简淡却野意自生，细描的水纹漾开闲静涟漪，晕开塘岸幽寂。\n\n以尺幅小景框住秋郊疏朗之美，摒弃繁复皴法，凭水墨浓淡铺陈远近层次，将深秋的沉静淡愁融在画面里，如同一曲低缓清寂的秋歌，淡而余味悠长，尽显宋画独有的含蓄雅致，藏着文人偏爱的冷澹幽隽意境。",[7,209,23,24,1352,28,173,27,177,29,2607,928,4208,34,4064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce6b7f466f533a40e0830c8a2449467.jpg",[],{"id":71946,"slug":71947,"title":53980,"dynasty":18,"author":278,"museum":311,"description":71948,"tags":71949,"thumbUrl":71950,"material":139,"size":139,"collection":139,"collections":71951,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},227873,"liu-tang-du-shu-tu-yi-ming-227873","苍松虬劲盘绕，柔柳垂拂溪岸，茅庐静踞山隅，堂内人影潜于书卷之间。溪石隐现于浅濑，清泠水意漫溢出纸面，远景平波澹澹，林峦在烟霭中晕化成淡墨剪影，将尘嚣完全隔绝在外。\n笔墨苍莽淋漓，皴擦间带着山野朴拙之气，将林泉高致的隐逸意趣藏在细节里，观之如身临幽寂山隅，窥见古人寄心林泉、沉潜书卷的雅静襟怀，仿佛能听见松涛卷着书香漫过水湄。",[7,209,23,24,1352,28,27,29,34,35,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd30268d4053639501778e8219f9b2a.jpg",[],{"id":71953,"slug":71954,"title":47107,"dynasty":18,"author":278,"museum":311,"description":71955,"tags":71956,"thumbUrl":71958,"material":139,"size":139,"collection":139,"collections":71959,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","宋 佚名 秋江暝泊图 纨扇 绢本设色 23.7×24.3cm 北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[7,209,23,24,67,173,27,1218,177,263,734,282,34,174,71957,7558,27398,558,3723,17276],"停泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":71961,"slug":71962,"title":71963,"dynasty":18,"author":47525,"museum":206,"description":71964,"tags":71965,"thumbUrl":71966,"material":712,"size":71967,"collection":139,"collections":71968,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},227759,"yi-xi-ci-ce-14-zhen-zhu-xi-227759","易系辞册14帧","朱熹《书易系辞》册 纸本，共14开 台北故宫博物馆，“书易系辞”册，一向被学者公认为是朱熹存世仅见的大字真迹。\n\n《书易系辞》，纸本，全册共十四开，102字，均纵36.5厘米，横61.8厘米，是朱熹存世仅见的大字真迹。全册共十四开，一百零二字，每行仅书写二字，内容为《易经·系辞》的节句。笔力凌厉豪劲，墨色黝黑，时而又出现飞白效果，显得格外精神奕奕。古代许多书法家是不善于写大字的，但这恰恰是朱熹的擅长，所以他的大行书远远胜过小行书。作品有朱熹名款及“定静堂”印记，为林宗毅先生所藏，后捐赠与台北博物馆。",[7,1004,86,178,81,263,24,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4118aefb6f5380b7d57297807840ac9.jpg","均纵36.5公分、横61.8公分",[],{"id":71970,"slug":71971,"title":71972,"dynasty":18,"author":2039,"museum":311,"description":40076,"tags":71973,"thumbUrl":71974,"material":139,"size":139,"collection":139,"collections":71975,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},227740,"huo-lang-tu-ye-wen-zi-li-song-227740","货郎图页文字",[7,2042,23,24,4850,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c816ffda703346d49c1e5d87e5fc6fa.jpg",[],{"id":71977,"slug":71978,"title":71979,"dynasty":18,"author":278,"museum":311,"description":71980,"tags":71981,"thumbUrl":71982,"material":139,"size":139,"collection":139,"collections":71983,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},227373,"xi-shan-cang-cui-tu-ye-yi-ming-227373","溪山苍翠图页","以谨严苍劲的笔墨描绘文人的隐逸生活。画面上高山峻拔，溪流绕岸，松林苍翠。一隐士漫步于溪岸，仰望远山，陶醉于林泉山色中。",[7,23,24,2042,173,27,178,81,29,866,266,558,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529b992184b93821d121297b00ee2b7e.jpg",[],{"id":71985,"slug":71986,"title":71987,"dynasty":54,"author":61060,"museum":311,"description":61061,"tags":71988,"thumbUrl":71989,"material":139,"size":139,"collection":139,"collections":71990,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},227092,"xiao-zi-fa-hua-jing-juan-xia-bu-li-yuan-hui-227092","小字法华经卷下部",[7,86,5152,25,243,621,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec1a4919be764b8f39da09c9433ad0.jpg",[],{"id":71992,"slug":71993,"title":71994,"dynasty":76,"author":1584,"museum":311,"description":71995,"tags":71996,"thumbUrl":71997,"material":139,"size":139,"collection":139,"collections":71998,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},224397,"fang-li-ying-qiu-bi-yi-zhou-wang-yuan-qi-224397","仿李营丘笔意轴","《清薛宣仿李营丘山水图轴》是清朝薛宣所创作的山水图轴。\n清薛宣仿李营丘山水图轴 此画作于1685年，从题款得知为仿北宋李营丘笔法。\n整幅画构图采用北宋人的主山高耸的格局，细笔绘成，敷以淡色，具有清旷、温秀的格调。\n薛宣，康熙年间人，字辰令，号水田居士，浙江嘉善人；一作娄东（今江苏太仓）人，侨居浙江武唐（今嘉兴）。\n善仿宋、元诸家山水，宗法王鉴，用笔厚重有气，一时之能品也。\n尝自夸其画“不参二王”，意即可与王原祁、王翚两名家并列。",[7,23,24,225,105,173,177,29,176,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577963b0648ab73e5506961bfbe382a1.jpg",[],{"id":72000,"slug":72001,"title":30703,"dynasty":76,"author":1584,"museum":311,"description":72002,"tags":72003,"thumbUrl":72004,"material":139,"size":139,"collection":139,"collections":72005,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","此帧全景山水层峦叠嶂，逶迤连绵，尽显浑穆苍茫的山水元气。以干笔积墨之法，以披麻皴反复皴擦山峦，笔墨苍厚华滋，细密间见疏朗之致。河谷间村舍错落隐于林木，松荫下茅舍临水枕溪，板桥横陈浅滩，将山居隐逸的澹然意趣藏于丘壑之中。画作追摹前贤笔意却自出机杼，以熟后生的笔法调和苍润，在繁密构图里经营疏密节奏，将端稳气质与林下幽居的清雅意韵相融，尽显文人山水的静穆悠长。",[7,23,24,225,29,27,177,734,282,108,34,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":72007,"slug":72008,"title":72009,"dynasty":76,"author":1929,"museum":311,"description":72010,"tags":72011,"thumbUrl":72012,"material":139,"size":139,"collection":139,"collections":72013,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},224322,"hua-niao-shi-er-kai-11-li-shan-224322","花鸟十二开11","以淡墨撇写兰叶，焦墨提点叶梢，笔锋老辣纵逸，将幽兰俯仰舒展之态信手勾勒，寥寥数笔便赋予其清灵隽秀的神韵。淡墨晕染的兰花隐于叶间，含露待放，清寂出尘。\n\n右侧题诗与画作笔意相融，书风朴拙跌宕，诗画合璧托物言志，寄寓着淡泊自持的文人风骨。整作构图极简，墨色浓淡相生，将水墨写意的抒情性发挥到极致，笔简而意足，尽显文人写意花鸟的雅逸格调，藏着画者桀骜脱俗的襟怀。",[7,23,24,81,173,406,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c7210f59211104441499328a26b60e.jpg",[],{"id":72015,"slug":72016,"title":72017,"dynasty":76,"author":1929,"museum":311,"description":72018,"tags":72019,"thumbUrl":72020,"material":139,"size":139,"collection":139,"collections":72021,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},224307,"hua-hui-shi-er-kai-8-li-shan-224307","花卉十二开8","此作用写意笔墨绘就春日杜鹃，设色清妍柔润。粉紫花瓣以淡彩晕染，瓣边留白衬出通透娇态，深红花苞点缀其间，层次鲜活分明。枝叶晕染雅致，墨色与水色交融，尽显舒展灵动之姿。淡赭勾勒枝干，笔力简括遒劲，将花枝舒展的野逸生机藏于线条间。\n\n旁侧题字笔意纵逸，书画相映成趣，诗画交融尽显文人雅韵。全画尽显率意清隽的风骨，寥寥数笔便将杜鹃柔丽烂漫的春日之态定格尺幅，于简淡挥洒中留住花木天然意趣，观之便觉春深枝上，雅韵悠然绵长。",[7,23,24,81,27,83,84,62,607,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3833b53e864ef1456151f8c63af9773.jpg",[],{"id":72023,"slug":72024,"title":72025,"dynasty":76,"author":1929,"museum":311,"description":72026,"tags":72027,"thumbUrl":72028,"material":139,"size":139,"collection":139,"collections":72029,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},224299,"hua-hui-shi-er-kai-11-li-shan-224299","花卉十二开11","此作用笔极简，以水墨写兰草，枯湿浓淡间，兰叶舒展有姿，苍劲线条带着萧疏散淡的野逸之趣。振翅的草虫是点睛之笔，羽翼纹路纤毫毕现，写实的虫豸和写意兰草形成精妙对照，将深秋里的鲜活生机定格在纸上。\n\n右侧题字笔意纵肆跌宕，与画面笔墨气息呼应，诗书画印浑然相融。画作放逸却不失精微，将文人写意的随性洒脱与写生的细腻写实巧妙结合，在萧疏秋景里晕开朴拙鲜活的意趣，尽显文人画特有的清逸格调。",[7,23,24,81,173,178,2570,263,83,940,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334dc0678cadf23c41e470a0eda5e33b.jpg",[],{"id":72031,"slug":72032,"title":72033,"dynasty":76,"author":72034,"museum":311,"description":72035,"tags":72036,"thumbUrl":72037,"material":139,"size":139,"collection":139,"collections":72038,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","李寅","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[7,209,23,24,225,29,27,177,734,1775,154,384,35,558,468,106,9007,865,29633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":72040,"slug":72041,"title":60497,"dynasty":76,"author":29211,"museum":311,"description":29212,"tags":72042,"thumbUrl":72043,"material":2164,"size":2165,"collection":139,"collections":72044,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},224286,"qi-yan-shi-fu-shan-224286",[7,24,86,2570,225,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e514d824c31e5eeded135cd1dd6fed.jpg",[],{"id":72046,"slug":72047,"title":72048,"dynasty":76,"author":72049,"museum":311,"description":72050,"tags":72051,"thumbUrl":72052,"material":2164,"size":2165,"collection":139,"collections":72053,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},224242,"shan-mian-shan-shui-wang-wu-tian-224242","扇面山水","王无忝","清河南孟津人，字夙夜。康熙九年进士，官金华知府。善画山水。词语分解忝的字典解释忝ǎ 辱，有愧于，常用作谦辞：忝在知交。忝属知己。忝列门墙（愧在师门）。",[7,23,24,1352,29,173,177,734,384,558,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd23abd32e524767448b47b66f8b4a9a.jpg",[],{"id":72055,"slug":72056,"title":72057,"dynasty":76,"author":38378,"museum":311,"description":50165,"tags":72058,"thumbUrl":72059,"material":2164,"size":2165,"collection":139,"collections":72060,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},224161,"ou-yang-yong-shu-juan-wu-xi-zai-224161","欧阳永叔卷",[7,86,25,5405,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34980a74da411bba3130e0946736768.jpg",[],{"id":72062,"slug":72063,"title":72064,"dynasty":76,"author":67295,"museum":311,"description":72065,"tags":72066,"thumbUrl":72067,"material":2164,"size":2165,"collection":139,"collections":72068,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},224152,"lin-wang-xi-zhi-shan-chuan-zhu-qi-tie-zhou-zhang-zhao-224152","临王羲之山川诸奇帖轴","张照（1691-1745），娄县（今上海松江市）人，字得天，号天瓶、泾南，谥文敏。博学多才，乾隆皇帝称赞其书法：‘有米（芾）之雄，而无米之略。复有董（其昌）之整，而无董之弱。’ 《山川诸奇帖》为《十七帖》中的一札，又称《游目帖》。本幅书于洒金笺，并以泥金界线。结字多参杂己意，章法则吸收了元人以降放大、直幅临书的表现手法。虽自称临书，然已与原帖面貌大相径庭，显示出书法艺术与时代发展密不可分的关系。",[7,23,24,225,105,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0b45d01c2dd96107c5a16e4d793de4f.jpg",[],{"id":72070,"slug":72071,"title":72072,"dynasty":76,"author":48881,"museum":311,"description":72073,"tags":72074,"thumbUrl":72075,"material":2164,"size":2165,"collection":139,"collections":72076,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},224149,"shou-zha-er-shi-si-tong-er-yu-yue-224149","手札二十四通二","有清一代，书法可分两途。康、乾时期，书宗董、赵，以帖为式，风格清健流丽，儒雅闲静。然以承继为主。嘉、道之后，此风参以颜、柳，庙堂之气重而风流韵致少，故“馆阁”之讥，时或有之。与其反道而行之者，碑派兴起，渐成流风。晚清士大夫，初学阁帖，中年之后参以北碑，既增筋骨，又不乏生动。遂成一时之风尚。俞曲园即其一例也。\n曲园与小坡二十四札书信，以言学术、诗词者居多，时间大约在光绪八年（1882-1887）之间。信札之书体，除一通为隶书外，俱为行楷书。曲园早年科举应试，字体工整圆润，有馆阁之风。后习篆、隶，书风为之一变，隶形篆意，古朴厚重，不加雕饰，犹如经生治史。老年所书楷联，则参以碑意，大气重拙。然此册之书法，除古朴、重拙之外，更有气质闲雅，潇洒风流，宋人之意跃然纸上。此或翰札特有之形态，抑或特有之魅力也。",[7,86,178,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0946fcc669995b966cbe7ff1a365b0e.jpg",[],{"id":72078,"slug":72079,"title":72080,"dynasty":18,"author":278,"museum":311,"description":72081,"tags":72082,"thumbUrl":72083,"material":139,"size":139,"collection":139,"collections":72084,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},223685,"qi-shi-lie-gui-tu-ye-yi-ming-223685","骑士猎归图页","胡风漫卷下猎罢而归，骑士毡帽胡服，神态悠然松弛，似正回味猎时快意。身旁骏马垂首缓息，鞍鞯纹饰细密华美，犹带着出猎时的矜贵气度，暗衬主人不凡。\n整幅设色调和淡雅，笔致凝练写实，将北地游侠猎归后的闲散意韵尽显。诗画合璧，题诗呼应着射猎的飒爽过往，把塞上猎游的疏野风情融于尺幅之间，寥寥数笔便将游侠卸甲稍歇的松弛情态勾勒传神，尽显古朴生动的写实格调。",[7,209,23,24,81,28,27,106,150,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c29f5851237d0ecd81db53402b7efe.jpg",[],{"id":72086,"slug":72087,"title":72088,"dynasty":99,"author":278,"museum":311,"description":72089,"tags":72090,"thumbUrl":72091,"material":139,"size":139,"collection":139,"collections":72092,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},223679,"gu-xiu-shi-liu-ying-zhen-ce-12-yi-ming-223679","顾绣十六应真册12","林间崖畔，罗汉安坐于兽纹华座，神态安然静定，座前猛虎俯首顺服，尽敛凶煞之态。两侧侍者躬身侍立，一人持器，一人奉供，神态恭谨肃穆。\n\n画面以铁线白描为骨，劲挺流畅的线条勾勒出人物衣褶的繁复层次，将织物柔润华美尽显无遗，树石轮廓苍劲简练，衬出林间幽寂禅意。猛虎斑纹晕染细腻，毛发质感逼真生动。整幅画作清逸古雅，暗藏罗汉威德镇服猛兽的禅理，尽显精湛工力，意境幽远沉静。",[7,23,24,81,244,243,106,8436,384,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41420e3d7b2b1cd03e2f46ae6145720b.jpg",[],{"id":72094,"slug":72095,"title":72096,"dynasty":204,"author":278,"museum":311,"description":72097,"tags":72098,"thumbUrl":72099,"material":2164,"size":2165,"collection":139,"collections":72100,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},223662,"yan-luo-wang-shou-ji-jing-tu-quan-juan-yi-ming-223662","阎罗王授记经图全卷","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一。\n十王信仰的形成主要缘于佛教地狱思想、因果报应思想、三世轮回思想与中国传统的鬼神魂魄思想之结合。",[7,23,209,25,24,243,106,27,5152,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc185f928e71d9e31bb56d282798760.jpg",[],{"id":72102,"slug":72103,"title":72104,"dynasty":189,"author":278,"museum":311,"description":72105,"tags":72106,"thumbUrl":72107,"material":139,"size":139,"collection":139,"collections":72108,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},223649,"shuo-jing-tu-yi-ming-223649","说经图","四身圣像伫立于云海之间，头覆圆光，宝冠嵌饰华彩璎珞，衣敷石绿、朱红等厚重古雅之色，撞色鲜明却协调柔和，带着元代佛画特有的朴拙厚重。\n\n左上圣像垂目含慈，右手轻抬似将启妙谛；右上尊者微颔，手势开示法义。下方二圣或合掌恭聆，或垂眸静思，眉目温婉沉静，将聆法的肃穆虔敬藏于神态之中。\n\n线条遒劲凝练，衣褶流转自带灵动韵律，绢面虽因年深岁久略显斑驳，却更添古拙沉静的宗教氛围感，将说法聆经的静谧庄严，永远定格于这尺幅绢素之上。",[7,23,24,243,106,28,27,1554,2279,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3abe60a0d10554eac0632494ab0303.jpg",[],{"id":72110,"slug":72111,"title":72112,"dynasty":18,"author":278,"museum":311,"description":72113,"tags":72114,"thumbUrl":72115,"material":139,"size":139,"collection":139,"collections":72116,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":49},223646,"xi-yan-mu-se-tu-ye-yi-ming-223646","西岩暮色图页","此作用墨沉润苍郁，以边角取景铺展暮色空山。近岸孤舟横斜，系着晚归的余绪，坡岸林木蓊翳，松枝偃仰间带着黄昏倦意。崖壁山石以硬朗皴法写就，隐没在渐深的暮色烟霭中，虚实相生间将山野黄昏的幽寂缓缓铺陈。\n\n墨色随着暮色层次晕染，浓淡过渡里晕化出薄暮氤氲的朦胧，不见白日明丽，只留萧疏静谧的山野况味，将暮色西岩时分天地归于岑寂的氛围感藏在水墨晕染间，观之如身临空山向晚，揽尽黄昏里山野沉静的余韵。",[7,209,23,24,81,173,177,29,384,558,174,3620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5bd45ee326f56e10fc3030c6df6c33.jpg",[],{"id":72118,"slug":72119,"title":72120,"dynasty":18,"author":278,"museum":311,"description":72121,"tags":72122,"thumbUrl":72124,"material":139,"size":139,"collection":139,"collections":72125,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":94},223645,"zhu-wang-jue-yuan-tu-ye-yi-ming-223645","蛛网攫猿图页","此作用笔精细入微，猿猴攀附松枝，长臂探向蛛网，身姿轻捷灵动，毫毛发肤晕染细腻，将猿猴的好奇憨态刻画得栩栩如生。松叶苍劲秀挺，留白衬出幽寂雅致的氛围，尽显小品画以小见大的意趣。\n画作写实功力尽显，又搭配题诗呼应画意，将生灵的灵动情态与文人情思相融，于尺幅团扇之中，藏着宋人雅致精微的审美意趣，是兼具写生妙笔与含蓄理趣的经典之作。",[7,23,4850,28,27,11064,926,22255,72123,86,263],"蛛网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1685b576c7ccc6dfa95528b2be98d2.jpg",[],{"id":72127,"slug":72128,"title":42580,"dynasty":18,"author":278,"museum":311,"description":72129,"tags":72130,"thumbUrl":72131,"material":139,"size":139,"collection":139,"co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趣。笔墨简淡疏朗，水墨晕染出空濛意境，线条灵动流畅，皴擦间显山石质感，尽显文人画的逸雅之风。画面疏阔雅致，传递出隐逸超脱的情怀，仿佛溪声入耳，清风拂面，引人沉醉于这方静谧天地。",[23,173,29,177,174,175,24,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3c855640c64dacdd3db0f4504acc59.jpg",[181],"b19f85",{"id":73623,"slug":73624,"title":3907,"dynasty":76,"author":278,"museum":78,"description":73625,"tags":73626,"thumbUrl":73627,"material":139,"size":139,"collection":90,"collections":73628,"showCount":1009,"zanCount":2209,"manualWeight":48,"mainColor":73629},201681,"mu-dan-tu-zhou-yi-ming-201681","画面中牡丹姿态妍丽，粉瓣层叠晕染，色泽娇嫩欲滴，叶片以蓝绿勾勒，线条婉转灵动。旁侧山石以水墨泼写，浓淡交错间显苍劲质感，与柔美的花卉形成刚柔对比。左侧题跋笔墨流畅，书意与画意相融，尽显文人画的雅致意趣。整幅作品兼工带写，将牡丹的雍容与山石的朴拙巧妙结合，传递出自然生机与文人情怀。",[23,225,83,369,173,27,178,3202,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a4dad065813332d124a43dd989287b.jpg",[90],"c4b39f",{"id":73631,"slug":73632,"title":73633,"dynasty":76,"author":27096,"museum":78,"description":73634,"tags":73635,"thumbUrl":73636,"material":139,"size":139,"collection":181,"collections":73637,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":73638},201677,"bai-chi-ming-xia-tu-zhou-xiao-yun-cong-201677","百尺明霞图轴","这幅山水图中，山石嶙峋，皴法细腻，线条勾勒出岩崖的苍劲质感；古松虬枝盘结，立于涧边，与层叠峰峦相衬。山间楼阁隐现，飞瀑垂落，似携泠泠水声，营造出空灵悠远的氛围。笔墨清雅，意境幽深，尽显文人山水的雅致韵致。",[23,29,177,173,176,10895,107,466,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e8badbd03f90d384578c9b4ac29e715.jpg",[181],"cdc2b2",{"id":73640,"slug":73641,"title":73642,"dynasty":76,"author":33393,"museum":78,"description":73643,"tags":73644,"thumbUrl":73645,"material":139,"size":139,"collection":181,"collections":73646,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":73647},201676,"dian-cang-shan-se-tu-zhou-huang-xiang-jian-201676","点苍山色图轴","层峦叠嶂如黛，云雾似缕轻缠峰腰，远近山景因之错落有致。山石以皴擦显肌理，或浓墨点苔增苍劲，或淡笔晕染衬空灵。山下江流蜿蜒，孤舟泛于碧波，岸畔村舍隐于树影，小桥横卧溪上，行人策马路过，烟火气与清寂山光相融。笔墨干湿相济，设色淡雅温润，既展山川雄浑之态，又含水乡灵秀之韵，自然意趣与人文情致交织，尽得传统山水画气韵生动之妙。",[29,27,177,108,109,174,150,194,24774,37,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2f80673801566b69d1f6606ddfe3dd1.jpg",[181],"8b7b70",{"id":73649,"slug":73650,"title":5491,"dynasty":76,"author":66260,"museum":78,"description":73651,"tags":73652,"thumbUrl":73653,"material":139,"size":139,"collection":163,"collections":73654,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":73655},201674,"he-hua-tu-zhou-zhu-ang-zhi-201674","这幅荷花图以水墨写意入笔，荷叶用墨浓淡相济，或泼墨挥洒显厚重，或淡墨勾筋露舒展，尽显叶片自然之态。荷花茎秆挺劲，线条简练却藏力度，间杂细草摇曳，更衬出荷塘清寂之美。墨色干湿交错，层次丰富，将荷叶翻卷、莲蓬含蓄刻画得生动传神。构图疏而不空，气韵连贯，于简约中见雅致，传递出荷塘夏日的宁静意趣，尽显文人画清雅风骨。",[173,136,400,225,23,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F063c78e3db6fd6bba495ad64c8a4a050.jpg",[163],"c9a97c",{"id":73657,"slug":73658,"title":73659,"dynasty":99,"author":2494,"museum":78,"description":73660,"tags":73661,"thumbUrl":73662,"material":139,"size":139,"collection":181,"collections":73663,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":73664},201672,"fang-ju-ran-yun-shan-tu-zhou-dong-qi-chang-201672","仿巨然云山图轴","这幅画以淡墨晕染出层层云雾，山峦在烟霭中若隐若现，虚实相生间尽显空灵悠远之境。近景林木苍劲挺拔，墨色浓淡相宜；中景山石以皴法勾勒，纹理质朴自然，与流动的云气形成动静对比；远景主峰巍峨浑朴，承巨然遗风却融入自身清逸笔意。笔墨简淡却意境深幽，文人画的雅致韵味十足，仿佛将观者带入烟霞满目的山林深处，感受自然与笔墨交融的妙趣。",[23,24,225,173,29,177,105,23422,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83ebb3cdf2c4ac33247bd47017e5084.jpg",[181],"69532b",{"id":73666,"slug":73667,"title":16576,"dynasty":76,"author":73668,"museum":78,"description":73669,"tags":73670,"thumbUrl":73671,"material":139,"size":139,"collection":181,"collections":73672,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":73673},201668,"shan-shui-tu-zhou-li-zhao-heng-201668","李肇亨","这幅水墨山水轴，远山层叠，皴笔勾勒山石纹理，苍劲中见秀逸；近岸林木葱茏，几椽屋舍隐于树荫，亭台傍水而筑，意境清幽雅致。水面开阔平远，与远山相映成趣，笔墨简淡却韵味醇厚，似寄寓文人归隐林泉之思。构图疏密得当，虚实相生，山石以皴法显质感，树木枝干挺健，尽显自然生机。整体画风清润空灵，传递出静谧悠远的山林意趣，尽显传统文人画的审美意涵。",[29,173,177,175,263,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd935132b58696bf1b5cb08a12ea5b4d7.jpg",[181],"ada597",{"id":73675,"slug":73676,"title":73677,"dynasty":99,"author":55580,"museum":78,"description":73678,"tags":73679,"thumbUrl":73680,"material":139,"size":139,"collection":181,"collections":73681,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":73682},201667,"he-jing-na-liang-tu-zhou-yuan-shang-tong-201667","荷静纳凉图轴","画面铺展清幽之境：近坡古树虬劲，枝叶繁密如盖，山石以皴法勾勒，纹理分明；中流亭榭凌波而立，竹桥轻架水面，流水潺潺绕石而过，小桥卧波连两岸；远处竹影森森，山峦淡远朦胧，云雾轻笼天际，似有微风拂面。笔墨灵动有致，树木点染间见生机，设色淡雅温润，将纳凉的闲适与自然的静谧相融，尽显文人雅士寄情山水的悠然心境，仿佛能闻得竹梢风动、水石相击的清响。",[29,175,108,109,177,27,226,34,176,38036,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ab2cd7326a244667baa64e7c609797.jpg",[181],"b8ab92",{"id":73684,"slug":73685,"title":73686,"dynasty":76,"author":73687,"museum":78,"description":73688,"tags":73689,"thumbUrl":73690,"material":139,"size":139,"collection":163,"collections":73691,"showCount":1009,"zanCount":48,"manualWeight":48,"mainColor":73692},201655,"song-mei-tu-zhou-wu-dong-fa-201655","松梅图轴","吴东发","老松虬干盘曲，皴笔勾勒出斑驳肌理，松针攒簇劲挺；梅枝疏朗，花蕊点缀清雅。竹石相映，笔墨干湿浓淡相宜，线条灵动沉稳。构图疏密有致，意境高洁，松梅君子风骨尽显，文人雅致韵致流淌于笔墨间，简淡中藏深意，清雅里见精神。",[23,173,225,403,402,226,385,177,24,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地，举头缈缈似瑶宫。”",[7,23,209,24,225,173,29,177,107,108,109,174,175,176,1365,73958,4969],"晴岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce127fb8d35aa9d318a679e90e4b8366.jpg",[],{"id":73962,"slug":73963,"title":73964,"dynasty":18,"author":278,"museum":311,"description":73965,"tags":73966,"thumbUrl":73968,"material":2164,"size":2165,"collection":139,"collections":73969,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},289786,"song-yan-xian-guan-tu-yi-ming-289786","松严仙馆图","采用全景式山水章法，将高远、平远景致相融。危崖之巅，楼阁隐于青松翠岫间，尽显出尘高逸。水畔台榭依崖而建，烟波浩渺间远山如黛，留白处晕染出空濛悠远的诗意。前景古木虬曲苍劲，坡岸山石皴擦细腻苍润，笔致严谨雅致，绢本晕染的古雅色调沉静悠然。\n整幅画铺展出林泉幽居之景，将仙馆清寂融于烟岚山水之中，尽显可观可游可居的山水意趣，暗合林泉高致的风雅，氤氲出静谧悠远的隐逸之美。",[7,23,29,104,27,177,107,1365,176,109,1265,174,73967],"亭馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c8cfd725c56d9836e02506697d5c1d.jpg",[],{"id":73971,"slug":73972,"title":7385,"dynasty":277,"author":278,"museum":311,"description":73973,"tags":73974,"thumbUrl":73975,"material":2164,"size":2165,"collection":139,"collections":73976,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},289571,"fo-xiang-yi-ming-289571","此作为白描残卷，以凝练劲挺的墨线勾勒法相，衣袂褶皱婉转舒展，将诸佛结跏趺坐的端严姿态铺陈纸上。造像面含悲悯圆融之态，浅描头光晕染出神圣静穆的氛围。朱红古印虽已残损，却为残页晕开厚重古意。残破的纸页裹挟着岁月剥蚀的痕迹，断简残章间，依旧藏着虔诚质朴的写绘底色，静静诉说着悠远的梵禅意韵。",[7,244,7385,243,106,263,1945,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a2a04685c3e3d5bed2411aa4b33ba9c.jpg",[],{"id":73978,"slug":73979,"title":73980,"dynasty":277,"author":73981,"museum":311,"description":73982,"tags":73983,"thumbUrl":73984,"material":2164,"size":2165,"collection":139,"collections":73985,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},289367,"tu-dao-chao-tun-tu-qing-mu-mu-mi-289367","兔道朝暾图","青木木米","此作用笔兼具中日山水意趣，取景开合相生。远山以淡墨晕染出空濛烟岚，峰峦轮廓温润朴拙，暗合米家山水氤氲之态。近岸桃红柳翠，板桥通幽，山居藏于虬枝茂叶间，清溪蜿蜒穿谷，渔舟泛波划破春水静澜。\n\n右侧崖壁题笔古雅，笔墨干湿浓淡交叠，苍松怪石兼具苍劲秀逸之姿。将春日溪山的清寂生机揉为一处，渔樵幽隐之趣暗含其间，把文人寄兴林泉的澹然幽怀，晕染进烟柳春山之中，静穆又暗藏灵动意韵。",[7,23,1218,27,173,177,29,108,109,174,175,264,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b4914d50ec75112b683d1d423ddc33.jpg",[],{"id":73987,"slug":73988,"title":73989,"dynasty":277,"author":278,"museum":311,"description":73990,"tags":73991,"thumbUrl":73993,"material":2164,"size":2165,"collection":139,"collections":73994,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},289113,"na-liang-tu-ping-feng-yi-ming-289113","纳凉图屏风","以淡墨写意勾勒茅舍藤架，阔叶藤蔓缠绕垂覆，浓淡墨色晕染出叶片错落的阴阳生姿，自带溽夏清润凉意。画面留白疏阔，空濛底色晕开幽寂乡居意趣，半掩的柴门、朴拙木柱不见冗余修饰，隐约露出行将消夏的竹席一角，不见纳凉人却处处漫着偷闲松弛的慵懒况味。笔致萧疏散淡，舍去繁复皴染，寥寥数笔便将炎夏里乡居的清宁淡远铺陈开来，把暑热间的安闲散逸藏在淡墨疏影之中，尽显水墨留白造境的悠远禅意。",[7,23,24,173,106,12848,23019,606,73992],"消暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19555733da3bcd59130100a11039297b.jpg",[],{"id":73996,"slug":73997,"title":73998,"dynasty":277,"author":278,"museum":311,"description":73999,"tags":74000,"thumbUrl":74002,"material":2164,"size":2165,"collection":139,"collections":74003,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":255},289112,"nan-qin-san-lang-hua-juan-yi-ming-289112","男衾三郎画卷","整卷图文共生，左侧古题咏铺陈叙事，右幅拆分多段场景。深宅庭院里，仕女文士凭廊观游、私语晤面，木构屋宇细节雅致，淡彩晕染庭中花木，尽显贵族闲雅日常；郊野之上武士控马弯弓，身姿矫捷，动静相映。素纸因年岁晕染泛黄，浅淡青绿、朱红点缀其间古意盎然，将物语轶事缓缓铺展，融闲情英气于长卷，尽显中古绘卷特有的叙事审美意趣。",[7,209,25,27,106,107,150,86,59075,115,74001],"故事画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F342fda8928667199bec2164d428214aa.jpg",[],{"id":74005,"slug":74006,"title":59544,"dynasty":18,"author":278,"museum":311,"description":74007,"tags":74008,"thumbUrl":74009,"material":2164,"size":2165,"collection":139,"collections":74010,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288948,"wu-jiu-wen-qin-tu-yi-ming-288948","残雪覆着虬曲皴裂的老枝，瘦骨嶙峋的老树峙于寒溪之畔，将冬日荒寒铺陈开来。两只文禽相偎枝桠，翎毛晕染细腻柔和，软绒暖意破开周遭清寂。\n\n溪水流过覆雪矶石，浅淡墨色勾出缓缓波纹，带着清泠水汽漫开。远山以淡墨晕染留白，如笼烟霭，把辽远空濛揉进冷灰底色里。\n\n整作工写相融，禽鸟描摹写实生动，山水却写意空灵，萧寒中暗蕴脉脉温情，将冬日荒林里的幽淡诗意静静晕开，冷而不寂，静中生趣。",[7,23,28,83,266,865,109,176,2019,42591,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8f467f9e57ea917f133b2b77c5e356.jpg",[],{"id":74012,"slug":74013,"title":74014,"dynasty":277,"author":278,"museum":311,"description":74015,"tags":74016,"thumbUrl":74018,"material":2164,"size":2165,"collection":139,"collections":74019,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288486,"wu-dai-juan-hua-gong-yang-tu-yi-ming-288486","五代绢画供养图","画面上下分野，铺陈出梵天净土与俗世虔敬。上段佛陀安坐莲台，神情端严，抬手施印，衣纹舒卷沉稳，两侧胁侍合掌伫立，宝冠璎珞俱全，设色沉厚晕染柔和，尽显超然平和的禅意氛围。\n下方供养人身着宽袍乌纱，手持熏炉躬身礼拜，眉眼间满是恭谨至诚，服饰细节勾勒写实，尽显信者风貌。绢面历经岁月泛黄斑驳，反倒赋予画作古拙厚重的质感。笔意质朴凝练，将宗教的庄严神性与世俗的恳切祈愿相融，静静诉说着旧时的信仰图景与审美意趣。",[7,23,24,225,74017,27,106,243,8567,35660,4636,25775],"绢画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e29cdd5428c9d910aa9a3eca382d50.jpg",[],{"id":74021,"slug":74022,"title":74023,"dynasty":277,"author":71779,"museum":311,"description":74024,"tags":74025,"thumbUrl":74026,"material":2164,"size":2165,"collection":139,"collections":74027,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},288476,"fang-song-yuan-bi-yi-shou-ye-chang-xin-288476","仿宋元笔意","野常信（KanōTsunenobu）是狩野派的日本畫家。他先是在父親狩野尚信（KanōNaonobu）的指導下學習，後來在父親去世後，在叔叔狩野探幽（KanōTan'yū）的指導下學習。他成為大師級畫家，並在1674年接替叔叔Tan'yū擔任狩野派校長。",[7,23,27,106,28,105,4304,229,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c39ad05a2847e35692f384ea8977fe2.jpg",[],{"id":74029,"slug":74030,"title":74031,"dynasty":76,"author":2214,"museum":311,"description":24609,"tags":74032,"thumbUrl":74033,"material":2164,"size":2165,"collection":139,"collections":74034,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288405,"liu-lao-lao-chu-you-xiao-xiang-you-sun-wen-288405","刘老老初游潇湘游",[7,23,28,27,106,107,1269,29,115,38768,1646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f507d3ef760c9586f9b9e3fed86bb8.jpg",[],{"id":74036,"slug":74037,"title":74038,"dynasty":76,"author":2214,"museum":311,"description":24609,"tags":74039,"thumbUrl":74040,"material":2164,"size":2165,"collection":139,"collections":74041,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288398,"wang-fu-ren-wen-bao-jie-yuan-qin-sun-wen-288398","王夫人闻报接远亲",[7,23,28,27,106,59,107,115,866,27087],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d16dfe0bed3a00caaf1e6af5847570.jpg",[],{"id":74043,"slug":74044,"title":74045,"dynasty":76,"author":34544,"museum":311,"description":34545,"tags":74046,"thumbUrl":74048,"material":2164,"size":2165,"collection":139,"collections":74049,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},288394,"du-zhi-jing-xue-ai-xin-jue-luo-xuan-ye-288394","“笃志经学”",[7,209,24,86,621,263,25,74047],"励志","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab8be9bf162078dd13696d320d1c17c.jpg",[],{"id":74051,"slug":74052,"title":74053,"dynasty":76,"author":278,"museum":311,"description":74054,"tags":74055,"thumbUrl":74056,"material":2164,"size":2165,"collection":139,"collections":74057,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288317,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-xiao-zhuang-wen-huang-hou-yi-ming-288317","历代帝王贵妃大臣朝服像(孝庄文皇后)","此作为工笔肖像，笔致凝练精细。画中人物端然正坐，宝蓝色朝服沉稳华贵，衣纹勾勒匀整流畅，边缘镶边更添庄重。红顶暖帽规制严整，衬出人物沉静端雅的气度。手中哈达轻柔垂落，暗合其出身的草原印记。坐具织锦纹样繁丽精巧，配色浓丽古雅，晕染细腻写实，层层烘托出人物尊崇的身份地位。整体画面气韵沉静肃穆，尽显清代宫廷肖像画的工整写实风格，精准定格了人物威仪温婉兼具的独特气质。",[7,23,28,27,106,46275,340,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ba2ccd4e010ce5cf0f4f413a4dab7f.jpg",[],{"id":74059,"slug":74060,"title":74061,"dynasty":76,"author":278,"museum":311,"description":74062,"tags":74063,"thumbUrl":74064,"material":2164,"size":2165,"collection":139,"collections":74065,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288309,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-cheng-ze-qin-wang-shuo-sai-yi-ming-288309","历代帝王贵妃大臣朝服像(承泽亲王硕塞)","此作为工笔肖像上乘之作，画中老者面容清癯，神态沉凝威严，自带宗室亲贵的从容威仪。画师以精细笔触描摹朝服，正龙纹鳞爪分明、气势雄健，海水江崖层次细腻，石青、明黄、朱红诸色交叠，富丽庄重又不失章法，精准贴合宗室品级仪制。\n\n领口貂裘、腰间饰件与项下朝珠皆写实入微，毛发丝缕毕现，珠串光泽莹润，将服饰材质肌理尽数展现。整作沉稳端凝，既恪守宫廷肖像的规制法度，又生动刻画出老者的耆年风骨，兼具纪实价值与艺术审美价值。",[7,23,28,27,36267,433,63,340,46275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be9a97f2fd5ca86c4d0f2b70f38163.jpg",[],{"id":74067,"slug":74068,"title":74069,"dynasty":76,"author":278,"museum":311,"description":74070,"tags":74071,"thumbUrl":74072,"material":2164,"size":2165,"collection":139,"collections":74073,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},288257,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ai-xin-jue-luo-xuan-ye-yi-ming-288257","历代帝王贵妃大臣朝服像(爱新觉罗 玄烨)","此作工笔写实，笔触精细入微。画中人物身着华贵朝服，宝蓝底衬明黄龙纹，绣工繁复精密，纹样威严庄重，朝珠、顶戴细节分毫毕现，尽显至尊威仪，人物神态沉稳肃穆，眉眼间自有君王持重气场。\n\n周遭陈设亦处处考究，文房器具规整雅致，孔雀翎摆件彰显礼制规格，桌椅与地毯纹饰华美庄重，细节间烘托出宫廷礼制的森严华贵。整幅设色厚重鲜明，将纪实性与艺术性相融，精准诠释清代宫廷肖像画的典型风貌，把帝王气度与宫廷规制氛围完美融合，是清代肖像画中的上乘之作。",[7,23,27,28,106,11709,433,8436,63,12464,12317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72337d4f0c0e300e38800a8591c5baa1.jpg",[],{"id":74075,"slug":74076,"title":74077,"dynasty":76,"author":278,"museum":311,"description":74078,"tags":74079,"thumbUrl":74080,"material":2164,"size":2165,"collection":139,"collections":74081,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288256,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-ming-288256","历代帝王贵妃大臣朝服像","此作糅合中西技法，工致细腻。帝王端严安坐，神色沉静内敛，朝服规制森严，朝珠垂坠尽显礼制威仪。宝座融欧式雕花与中式构件，蓝金配色华贵雅致，衬出主人尊崇地位。画师恪守御容画庄重范式，又以西洋光影晕染出面部立体感，皮肉纹理与衣褶层次刻画入微，既得传统写真传神要义，又暗含西风东渐的艺术新风，将帝王威仪与写实水准相融无间，是清代跨文化肖像画的精妙之作。",[7,23,27,28,106,11709,340,225,46275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F939e8b101086ba5245e3ee83bbc40fc1.jpg",[],{"id":74083,"slug":74084,"title":74085,"dynasty":76,"author":278,"museum":311,"description":74086,"tags":74087,"thumbUrl":74089,"material":2164,"size":2165,"collection":139,"collections":74090,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},288247,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-chao-fu-yi-ming-288247","历代帝王贵妃大臣朝服像(苏麻喇姑)朝服","此作以工笔写实，刻画出女主人端雅沉静的气度。冠帽朱红顶戴规整持重，吉服袍以石青为地，满绣五彩升龙，间缀宝相缠枝、江崖海水，绣纹细密饱满，设色浓丽沉稳，晕染匀称自然，分毫毕现清代宫廷冠服礼制的华美繁复。\n\n画师捕捉人物眉眼舒展平和的神态，褪去宫廷仪轨的疏离感，尽显其历经三朝的温润从容。项间朝珠层叠错落，更衬身份尊崇。整幅构图中正端严，融纪实性与审美性为一体，既恪守宫廷肖像的礼制要求，又生动传递出人物沉静温婉的独特风骨。",[7,23,27,106,28,225,63,433,74088,62335],"苏麻喇姑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771cdd4aa3a4879bb58e24b518f6fb0e.jpg",[],{"id":74092,"slug":74093,"title":74094,"dynasty":76,"author":278,"museum":311,"description":74095,"tags":74096,"thumbUrl":74098,"material":2164,"size":2165,"collection":139,"collections":74099,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288246,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-fan-wen-cheng-yi-ming-288246","历代帝王贵妃大臣朝服像(范文程)","此作工笔精细，将这位勋贵重臣的威严沉凝尽显无遗。画师落笔细致入微，人物面容苍劲有神，沉稳内敛的气度呼之欲出。朝服上的金线龙纹盘绕腾挪，绣工精巧华贵，宝蓝底色衬出明黄龙纹，配色端庄肃穆。朝珠制式严谨，串饰排布规整，与服饰相得益彰，精准还原清代重臣的朝仪规制。整体画面静穆庄重，遵循清代肖像画的写实传统，既细致还原服饰器用的典制细节，又生动刻画出人物历经世事的老成持重，尽显庙堂重臣的威仪风范。",[7,23,225,27,28,106,433,63,74097],"大臣肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88251542c3490542685b4a7b66856d36.jpg",[],{"id":74101,"slug":74102,"title":74103,"dynasty":76,"author":278,"museum":311,"description":74104,"tags":74105,"thumbUrl":74106,"material":2164,"size":2165,"collection":139,"collections":74107,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},288208,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-tai-ji-bian-fu-xiang-yi-ming-288208","历代帝王贵妃大臣朝服像(皇太极便服像)","此作工笔精谨，设色调和沉静。画中主人面膛方正饱满，虬须苍劲，神色威穆内敛，自带九五之尊的沉凝气度。石青便服挺括厚重，明色冠帽点缀其间，双手握朝珠静置于膝头，端坐在髹木嵌理石宝座之上。座椅蓝地缠枝围屏纹样舒展富丽，座垫织锦华而不艳，衬出主人的尊崇地位。画师写实功力深厚，衣纹晕染还原了面料的垂坠质感，面部晕染贴合骨相，将这位帝王的雄毅沉稳刻画入微，是清代肖像画里兼具纪实性与审美价值的精品。",[7,23,225,27,106,28,11709,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7412ef2ccdb72b371ecbeef1997f5eb.jpg",[],{"id":74109,"slug":74110,"title":74111,"dynasty":76,"author":278,"museum":311,"description":74112,"tags":74113,"thumbUrl":74114,"material":2164,"size":2165,"collection":139,"collections":74115,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288207,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yin-ti-fu-fu-yi-ming-288207","历代帝王贵妃大臣朝服像(胤禵夫妇)","此作为工笔重彩肖像，构图规整肃穆，二人正襟端坐，尽显世家眷侣的端方气度。画师以精细笔触还原服饰细节：藏青素缎朝服之上，补子、云肩、江崖海水纹饰华美繁复，金彩勾边搭配朱红、宝绿晕染，将清代宗室服饰的华贵礼制铺陈尽致，朝珠垂挂错落合仪，细节处处恪守典制。\n\n人物刻画写实传神，老者苍髯垂胸，神色平和自带威仪，女子妆容秀雅温婉，旗装头面一丝不苟，精准还原清代宗室贵眷的容仪风貌。整作配色沉稳雍容，以写实技法记录清代贵族日常仪范，兼具纪实价值与工笔美学质感。",[7,23,24,28,27,106,46275,63,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fb05210a13c131ae3272ef2b02e1b87.jpg",[],{"id":74117,"slug":74118,"title":74119,"dynasty":76,"author":278,"museum":311,"description":74120,"tags":74121,"thumbUrl":74123,"material":2164,"size":2165,"collection":139,"collections":74124,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288206,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-yi-ming-288206","历代帝王贵妃大臣朝服像(苏麻喇姑)","此帧工笔肖像以浅褐素底衬映，将人物端凝气度铺陈开来。主人物安坐于织锦软垫宝座，神情温和沉静，眉目间带着阅尽世事的从容。石青朝服庄重沉穆，补子纹样精巧华美，朱白相间的朝珠垂坠胸前，领口袖口镶边绣纹细密繁复，尽显礼制规格。画师笔触细腻入微，发丝根根分明，衣料褶皱晕染自然写实，精准呈现服饰肌理质感，将人物温婉肃穆的神态刻画淋漓尽致，恪守清代肖像画纪实法度的同时，于细节中烘托出人物独特气质，尽显宫廷肖像工整雅致之韵。",[7,23,24,28,27,2158,46275,74122,340],"女性人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87184e9eb8431295e72f6700686b2ee4.jpg",[],{"id":74126,"slug":74127,"title":74128,"dynasty":76,"author":278,"museum":311,"description":74129,"tags":74130,"thumbUrl":74131,"material":2164,"size":2165,"collection":139,"collections":74132,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},288196,"mi-you-ren-kuan-chu-shan-qiu-ji-yi-ming-288196","米友仁款楚山秋霁","此作追摹米家云山之法，以淡墨层层晕染山峦林麓，间以浓墨错落点苔，不着意勾勒山石轮廓，纯以水墨干湿浓淡的层次变化，晕染出楚山秋霁后烟岚浮动、空濛湿润的清灵景致，萧散简远，尽显文人山水的淡逸禅意。\n整卷拖尾题跋琳琅，钤印错落，层层递加的鉴藏印记晕开厚重的流传脉络，精准还原了米家山水的烟雨空蒙之韵，将秋日楚山初晴的温润灵秀，藏入氤氲墨色之中。",[7,209,23,24,25,173,29,86,178,2570,263,5535,557,1647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cedc727e28733e55d4168e8b27dd6d8.jpg",[],{"id":74134,"slug":74135,"title":74136,"dynasty":76,"author":278,"museum":311,"description":74137,"tags":74138,"thumbUrl":74139,"material":2164,"size":2165,"collection":139,"collections":74140,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288186,"xia-ri-na-liang-tu-juan-ben-yi-ming-288186","夏日纳凉图绢本","这幅小品以青绿设色写就，晕染出幽然消暑意趣。水岸垂柳柔条拂波，汀岸浅绿晕开暑夏水汽，将溽热轻轻揉碎在烟水间。山畔高阁凭渊藏于林麓，不见纳凉之人，却自有一种幽闲空寂的松弛意韵。\n\n远山以石青石绿勾染，淡赭铺底衬出峰峦温润古雅，奇峰错落淡溶于朦胧暮色里，将天地晕染出沉静古拙的氛围感。水面空阔留白，扁舟缓行，似载着闲客趁晚风消暑。\n\n全图以景托情，把文人寄情山水、寻幽纳凉的隐逸雅趣藏在湖山烟柳间，带着唐宋青绿小品的遗韵，清寂雅致，尽显消暑闲情。",[7,23,1218,26,27,107,174,109,8761,1087,557,912,12848,18501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39017a063b82ab63adc2028fc6edc752.jpg",[],{"id":74142,"slug":74143,"title":74144,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":74145,"thumbUrl":74146,"material":2164,"size":2165,"collection":139,"collections":74147,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},288080,"zui-weng-cao-ce-dong-qi-chang-288080","醉翁操册",[7,86,81,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9d189cdea5bd8375dcc92b6563eb2d.jpg",[],{"id":74149,"slug":74150,"title":24128,"dynasty":99,"author":17700,"museum":311,"description":21655,"tags":74151,"thumbUrl":74152,"material":2164,"size":2165,"collection":139,"collections":74153,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},288068,"yu-le-tu-zhou-chen-288068",[7,23,25,173,27,106,29,174,109,867,2570,86,1083,1365,1269,1755,18501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6016ca5fec09df5ebc518e20343612.jpg",[],{"id":74155,"slug":74156,"title":74157,"dynasty":99,"author":817,"museum":311,"description":27771,"tags":74158,"thumbUrl":74159,"material":2164,"size":2165,"collection":139,"collections":74160,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},288039,"zi-chen-chao-xia-qi-lv-wen-zheng-ming-288039","紫宸朝下七律",[7,86,178,225,24,13759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e015f2bbec068908e709dc076ed1642.jpg",[],{"id":74162,"slug":74163,"title":74164,"dynasty":99,"author":31173,"museum":311,"description":64561,"tags":74165,"thumbUrl":74166,"material":2164,"size":2165,"collection":139,"collections":74167,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":629},287946,"ku-lan-fu-hua-tu-wang-duo-287946","枯兰复花图",[7,86,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd20ba3a5931e74d2b81be473224c70.jpg",[],{"id":74169,"slug":74170,"title":74171,"dynasty":99,"author":278,"museum":311,"description":74172,"tags":74173,"thumbUrl":74174,"material":2164,"size":2165,"collection":139,"collections":74175,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},287650,"fu-hui-xi-quan-tu-wu-se-cha-ban-yi-ming-287650","赴会西全图（无色差版）","此作画境分野分明，上部飞天凌于彩云之间，衣袂随云气舒卷，手托仙花缓行，祥云或如赤焰翻涌，或似棉絮轻漫，将赴会的悠然仙韵晕染尽致。\n\n下半部笔锋转向苍劲，危崖怪石间枯藤盘虬，山岩皴染沉郁古朴，下方水纹卷绕如缠丝，又与底部祥云相融，将仙凡两境自然衔接。\n\n整体设色沉厚古雅，朱砂石青历经岁月晕化出沉静古韵，线条刚柔并济，飞天身姿柔婉灵动，山石水纹苍劲拙朴，糅合仙意空灵与山海雄浑，尽显古拙灵动的庙堂雅韵。",[7,23,24,225,243,27,106,29,245,109,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4d53e20df1d861cf2bc0b89c87c64b.jpg",[],{"id":74177,"slug":74178,"title":74179,"dynasty":99,"author":31173,"museum":311,"description":64561,"tags":74180,"thumbUrl":74182,"material":2164,"size":2165,"collection":139,"collections":74183,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},287386,"ting-ying-shi-qin-ge-wang-duo-287386","听颖师琴歌",[7,24,86,178,25,173,263,5310,74181],"琴歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e65bc9721f5e853590d041bb0b933be.jpg",[],{"id":74185,"slug":74186,"title":74187,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":74188,"thumbUrl":74189,"material":2164,"size":2165,"collection":139,"collections":74190,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},283717,"tian-ma-fu-juan-dong-qi-chang-283717","天马赋卷",[7,25,86,2570,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf8fc2d23a98123949302e1d7e09c8e.jpg",[],{"id":74192,"slug":74193,"title":74194,"dynasty":76,"author":7373,"museum":311,"description":33854,"tags":74195,"thumbUrl":74196,"material":2164,"size":2165,"collection":139,"collections":74197,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},241672,"shi-ding-shi-juan-qian-long-241672","事定诗卷",[7,24,25,178,263,86,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e95ceb5d3c41171b283ca2d262382a.jpg",[],{"id":74199,"slug":74200,"title":74201,"dynasty":76,"author":7373,"museum":311,"description":33854,"tags":74202,"thumbUrl":74203,"material":2164,"size":2165,"collection":139,"collections":74204,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},241669,"hou-shao-lu-fu-juan-qian-long-241669","后哨鹿赋卷",[7,20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顾璘亦是弘治十才子之一。著有《浮湘集》《山中集》《息园诗文稿》等。又曾评注杨士弘《唐音》。",[7,24,25,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b81495bbea7aed66ceb820bd011dfa2.jpg",[328],{"id":74263,"slug":74264,"title":74265,"dynasty":99,"author":74266,"museum":311,"description":74267,"tags":74268,"thumbUrl":74269,"material":2164,"size":2165,"collection":139,"collections":74270,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},240971,"lin-huai-su-zi-xu-juan-huang-cong-240971","临怀素自叙卷","黄琮","黄琮为宋朝官吏，字子方，莆田人（生卒不详）,唐校书郎黄璞的后裔，宋哲宗元符三年（1100年）中进士，授长溪县县尉，县尉主管社会治安。每次派员下乡巡查，他总是预先约束手下官吏，不得任意骚扰百姓。遇有重大巡查急务，他从不向地方百姓派款派夫，因此深得百姓敬重。",[7,86,2570,105,25,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21816f438bb9fedc54d6eb2696ac1166.jpg",[],{"id":74272,"slug":74273,"title":71519,"dynasty":54,"author":278,"museum":311,"description":74274,"tags":74275,"thumbUrl":74276,"material":2164,"size":2165,"collection":139,"collections":74277,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},240802,"wu-kuan-xie-jing-can-juan-yi-ming-240802","此卷小楷气脉贯通，千余字排布齐整却灵动自然，尽显唐人写经典型韵致。结体以方整为基调，暗含欹侧之势，点画饱满圆融，起收笔带着淡淡篆隶古意，质朴雅致。\n\n朱笔校勘的痕迹错落其间，为古卷添上鲜活的人间烟火气，隐约可见抄经手虔敬沉潜的书写日常。泛黄的纸色衬着历久弥醇的墨色，字字安稳端严，既有宗教写经的恭谨肃穆，又不失文人小楷的舒展自在，是唐代民间书法造诣的极佳体现，亦是唐人日常书写的珍贵实物范本。",[7,86,5152,621,25,1115,1116,243,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae2a504010c28d09d122872cc9a10cb2.jpg",[],{"id":74279,"slug":74280,"title":74281,"dynasty":76,"author":74282,"museum":311,"description":74283,"tags":74284,"thumbUrl":74285,"material":2164,"size":2165,"collection":139,"collections":74286,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},240630,"mei-hua-shi-juan-gu-ling-240630","梅花诗卷","顾苓","顾苓（1609~1682年后）字云美、一字员美，号塔影园客、荆蛮、浊斋居士，明遗民，篆刻取法文彭，有时誉，工隶书，取法《夏承碑》。",[7,25,24,86,178,1163,173,263,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ff0561728ca116be32ed714cf08a94.jpg",[],{"id":74288,"slug":74289,"title":74290,"dynasty":99,"author":74291,"museum":311,"description":74292,"tags":74293,"thumbUrl":74294,"material":699,"size":139,"collection":328,"collections":74295,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},240598,"wu-jia-kai-ren-zhai-shi-juan-lu-xiang-240598","五家楷忍斋诗卷","庐襄","大观元年（1107）进士，解褐提举淮南西路学事，宣和七年（1125），由知江宁府迁江南东路提点刑狱，靖康元年（1126）除兵部侍郎，时金兵攻破京都汴梁，因抗敌不力贬谪，后因推册张邦昌建伪政府，建炎初贬谪衡州，晚年归隐烂柯山。与夫人徐氏合塟衢州西安县十八都天保乡新碓高圹之地。着有《西征记》、《烂柯集》存世，其中尤以编著《锦绣万花谷》而享誉当世。",[7,86,621,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd199c5b931b018637135471e98fee52.jpg",[328],{"id":74297,"slug":74298,"title":74299,"dynasty":99,"author":74300,"museum":206,"description":74301,"tags":74302,"thumbUrl":74303,"material":699,"size":139,"collection":328,"collections":74304,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},240580,"po-yang-hu-wan-po-shi-juan-lu-ying-yang-240580","鄱阳湖晚泊诗卷","陆应阳","陆应阳. 生卒年不祥。字伯生。明江苏青浦人。晚年移居郡城，即松江府。",[7,209,23,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a20818015d5300f365a9183f37962c7.jpg",[328],{"id":74306,"slug":74307,"title":54050,"dynasty":99,"author":74308,"museum":311,"description":74309,"tags":74310,"thumbUrl":74311,"material":2164,"size":2165,"collection":139,"collections":74312,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},240573,"shi-juan-jin-cong-240573","金琮","金琮(1449--1501)，明代人，字元玉，自号赤松山农，金陵(今南京)人。少聪颖，好吟咏，善书画，年十二、三即能大书。初法赵孟頫，晚学张雨。画梅学扬无咎。",[7,86,24,25,178,2570,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e6658ce02a9d8fe0d3506811041ff1.jpg",[],{"id":74314,"slug":74315,"title":39921,"dynasty":99,"author":22851,"museum":311,"description":74316,"tags":74317,"thumbUrl":74318,"material":2164,"size":2165,"collection":139,"collections":74319,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},240514,"qian-zi-wen-juan-xu-guang-zuo-240514","许光祚[明]（约公元一六一九年前后在世）字灵长，陕西人。生卒年及生平均不详，约明神宗万历末前后在世。能诗，格调平易，著有《灵长集》初集，见《四库总目》。",[7,86,24,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7de505d99141eefb4f4755d6d614e2.jpg",[],{"id":74321,"slug":74322,"title":74323,"dynasty":99,"author":27134,"museum":311,"description":74324,"tags":74325,"thumbUrl":74326,"material":2164,"size":2165,"collection":139,"collections":74327,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},240467,"si-jia-shu-shi-juan-du-da-zhong-240467","四家书诗卷","杜大中. 子庸、山堂居士，江苏苏州人擅长书法",[7,209,23,24,25,173,178,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f506310945bfccd44737a8912f9eb8.jpg",[],{"id":74329,"slug":74330,"title":71543,"dynasty":76,"author":64716,"museum":311,"description":74331,"tags":74332,"thumbUrl":74333,"material":2164,"size":2165,"collection":139,"collections":74334,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},240303,"qi-xiang-ting-shu-zha-juan-yuan-mei-240303","袁枚（1716年3月25日～1798年1月3日），字子才，号简斋，晚年自号仓山居士、随园主人、随园老人。钱塘（今浙江省杭州市）人，祖籍浙江慈溪。清朝诗人、散文家、文学批评家和美食家。\n袁枚少有才名，擅长写诗文。乾隆四年（1739年），进士出身，授翰林院庶吉士。乾隆七年（1742年），外调江苏，先后于溧水、江宁、江浦、沭阳共任县令七年，为官政治勤政颇有声望，但仕途不顺，无意吏禄。乾隆十四年（1749年），辞官隐居于南京小仓山随园，吟咏其中，广收诗弟子，女弟子尤众。嘉庆二年（1798年），袁枚去世，享年82岁，去世后葬在南京百步坡，世称“随园先生”。\n袁枚倡导“性灵说”，主张诗文审美创作应该抒写性灵，要写出诗人的个性，表现其个人生活遭际中的真情实感，与赵翼、蒋士铨合称为“乾嘉三大家”（或江右三大家），又与赵翼、张问陶并称“性灵派三大家”，为“清代骈文八大家”之一。文笔与大学士纪昀齐名，时称“南袁北纪”。主要著作有《小仓山房文集》《随园诗话》及《随园诗话补遗》《随园食单》《子不语》《续子不语》等。散文代表作《祭妹文》，古文论者将其与唐代韩愈的《祭十二郎文》并提。",[7,86,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3444ea5ca672b6b8c49ad5234a829b.jpg",[],{"id":74336,"slug":74337,"title":74338,"dynasty":99,"author":30383,"museum":311,"description":74339,"tags":74340,"thumbUrl":74341,"material":2164,"size":2165,"collection":139,"collections":74342,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},239791,"zhuan-shu-si-yan-shi-juan-xu-lin-239791","篆书四言诗卷","徐霖（1462年-1538年），字子仁，号九峰、髯仙，又称徐山人。先世长洲（今江苏苏州）人，出生于华亭（今上海松江），后移居金陵。明代戏曲作家。\n徐霖性格倜傥、豪爽，工于书法，又兼善绘画。填曲富有才情，且颇精于格律，他与散曲作家陈铎在当时并有“曲坛祭酒”的称号，并与谢承举一起被称为“江东三才子”。",[7,209,24,25,1163,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5514dcd8e30ced0faaaeb587c4248d10.jpg",[],{"id":74344,"slug":74345,"title":40532,"dynasty":76,"author":74346,"museum":311,"description":74347,"tags":74348,"thumbUrl":74349,"material":139,"size":139,"collection":139,"collections":74350,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},239210,"za-hua-juan-tang-ying-239210","唐英","此卷兼工带写，笔意灵秀多变。起首松鼠戏食，墨色晕染出蓬松绒毛，灵动俏皮之态尽显；接绘双马，一匹徐行悠然，一匹滚地嬉憩，骏舒逸致扑面而来。\n\n中段丹冠雄鸡神采英挺，翎羽勾勒细腻又不失写意韵致，母鸡护雏尽显脉脉温情，山雀翻飞轻盈灵动。末段湖山清润，巉石隐现，幽篁茅舍伴扁舟泛波，野雁掠空尽得江南秋寂之味。\n\n题跋小字娟秀雅致，书画合璧，将花鸟走兽的灵动生机与山水的澹泊雅韵浑融无间，尽显扎实写生功底与清隽文人逸趣。",[7,23,24,25,173,27,29,175,174,266,2801,150,16568,151,34,558,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c768bfb539b8068f02787c67fb67aa.jpg",[],{"id":74352,"slug":74353,"title":74354,"dynasty":76,"author":74355,"museum":311,"description":74356,"tags":74357,"thumbUrl":74358,"material":2164,"size":2165,"collection":139,"collections":74359,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},239137,"zhi-hua-hua-guo-juan-gan-shi-diao-239137","指画花果卷","甘士调","甘士调及其子弟的指画艺术甘士调是高其佩的嫡传弟子之一。甘氏生卒年未详,为康熙雍正年间(1662—1735)人。字和庵,亦字怀园,号凤矶山人,鸭绿江南人,清代铁岭人。",[7,23,24,209,25,27115,173,32041,512,286,27236,2569,781,84,2267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87139f9df0a743599f3d2148679c2647.jpg",[],{"id":74361,"slug":74362,"title":74363,"dynasty":99,"author":74364,"museum":311,"description":74365,"tags":74366,"thumbUrl":74367,"material":139,"size":139,"collection":139,"collections":74368,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},234260,"shan-shui-he-zhuang-tu-juan-sun-wei-234260","山水合装图卷","孙玮","孙玮，号松溪翁，明代隆庆万历间吴（今江苏苏州）人。工山水。其事迹已收入《中国美术家人名辞典》。",[7,209,23,24,25,173,27,29,175,266,108,109,866,229,107,34,176,86,178,2570,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f75bafa04edc4b27c971f59e44d99dc.jpg",[],{"id":74370,"slug":74371,"title":74372,"dynasty":99,"author":74373,"museum":20,"description":74374,"tags":74375,"thumbUrl":74376,"material":841,"size":74377,"collection":139,"collections":74378,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},234252,"jin-ling-shuang-gui-juan-zhu-zhi-fan-234252","金陵双桧卷","朱之蕃","桧树，又叫圆柏。在这幅长卷中，左侧是马电的《双桧图》。\n右侧是朱之蕃的《双桧图》。\n画上的题跋交代了这幅画的创作背景。马电在金陵雨花台，也就是今天江苏南京的雨花台山下看到了两棵古桧。\n桧树姿态奇特，葱郁挺拔，很像成都诸葛祠和姑苏虞祠中的树木，但不同的是，成都诸葛祠中的古柏因为有唐代大诗人杜甫写诗而名扬天下，姑苏虞祠的古柏因为有明代绘画大师沈周作画而声名远播，但这里的古桧却无人知晓。\n于是他创作了这幅《双桧图》，希望这里的桧树能被更多人了解。\n马电是朱之蕃的好朋友。朱之蕃先是向马电索要了《金陵双桧图》，不久后又买到了明代绘画大师沈周的《虞山三桧图》卷。\n朱之蕃惦念着好朋友马电，于是又创作了一幅《双桧图》，并将他的画和马电的画装裱在一起。所以，有了现在的这幅《金陵双桧卷》。\n桧树不畏霜雪，四季常青，寿命很长，因而是高洁、长寿的象征。这幅画中，两棵桧树并肩生长，象征着马电和朱之蕃的深厚友情，寓意着君子之交。\n同气连枝，是自然界中树木的相依相生，是社会中人们的相依相靠。四海之内，皆是兄弟；炎黄子孙，都是同胞。无论任何时候，中华民族的同胞都同气连枝，亲如一家，共迎磨难，共享繁荣。",[7,23,24,25,173,178,263,866,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f889f425dcc33c1856acb0a912b6e4.jpg","33cm*137.5cm",[],{"id":74380,"slug":74381,"title":74382,"dynasty":76,"author":50768,"museum":311,"description":74383,"tags":74384,"thumbUrl":74385,"material":139,"size":139,"collection":139,"collections":74386,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},234210,"xiang-jiang-chang-he-tu-juan-wang-chen-234210","湘江唱和图卷","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。王时敏六世孙，王原祁曾孙。官衔有的说是乾隆二十五年举人，官永州太守，但也有一说是乾隆年进士，官居永州知府。\n书法似颜真卿，多藏古碑刻。山水承家学，以元四家为宗，而深得黄公望法。枯毫重墨，气味荒古，脱略形似，仿王绂尤得神髓 。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 ，山石都在形似间。著有《绘林伐材》、《蓬心诗钞》，卒年七十八岁。与王玖、王愫、王昱合称小四王。",[7,23,24,25,173,177,178,86,29,174,34,21613,109,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde05bc6dbfab643b6def47925a554166.jpg",[],{"id":74388,"slug":74389,"title":74390,"dynasty":76,"author":69051,"museum":20,"description":74391,"tags":74392,"thumbUrl":74393,"material":21983,"size":74394,"collection":139,"collections":74395,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},234185,"xie-qin-fang-you-juan-huang-yi-234185","携琴访友卷","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[7,23,24,25,173,27,178,263,29,106,34,229,108,109,175,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4af429963430d611c94223cadd68049.jpg","纵26.7cm，横90.1cm",[],{"id":74397,"slug":74398,"title":74399,"dynasty":99,"author":74400,"museum":311,"description":74401,"tags":74402,"thumbUrl":74403,"material":139,"size":139,"collection":139,"collections":74404,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},234170,"yun-guan-tu-juan-gao-ting-li-234170","云冠图卷","高廷礼","[明]（一三五o至一四二三）本宋尚书张镇后，出继高氏。初名棅，字彦恢，自号漫士（一作慢仕），福建长乐人。永乐（一四o三至一四二四）初自布衣召授翰林待诏，迁为典籍。博学能文，工书、画，世称三绝，为闽中十才子之一。书得汉隶法，画善山水。宗米芾、高克恭，笔力苍古，墨气秀润，自成一家。有木天清气集、啸台集。卒年七十四。《明史本传、明史艺文志、福建通志、板画记、明画录、无声诗史、名山藏、玉堂丛话、曝书亭集》",[7,23,24,25,173,178,177,29,109,174,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458c9f96c3727df079f353f9302c1955.jpg",[],{"id":74406,"slug":74407,"title":12677,"dynasty":99,"author":74408,"museum":311,"description":74409,"tags":74410,"thumbUrl":74411,"material":139,"size":139,"collection":139,"collections":74412,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},234166,"hua-niao-tu-juan-cao-pu-234166","曹镤","曹镤（？－？），字良金，直隶苏州府吴江县人，民籍，明朝政治人物。应天府乡试第一百二十二名举人。弘治六年（1493年）中式癸丑科二甲第四十一名进士.曾祖曹瑾；祖父曹𤩽；父曹珵，母李氏",[7,23,24,25,27,173,3202,263,178,83,266,370,926,84,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483c4b66e3025fed4af1d5d6c8ef3840.jpg",[],{"id":74414,"slug":74415,"title":74416,"dynasty":99,"author":278,"museum":311,"description":74417,"tags":74418,"thumbUrl":74419,"material":2164,"size":2165,"collection":139,"collections":74420,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},232685,"jia-pu-xiao-xiang-tu-juan-yi-ming-232685","家谱肖像图卷","以朱红世系红线串联全篇，将先祖肖像与谱牒题款融为一体。数位先祖肖像冠服严整，乌纱补服与儒巾常服各具风貌，面容刻画朴拙写实，眉眼间自带肃穆恭敬，尽显明代士绅端方仪态。\n\n古旧纸色晕染岁月痕迹，朱红脉络依旧醒目，细密题注排布有致，清晰梳理家族传承脉络。它既是肖像绘事遗存，也是宗法血脉的具象载体，融绘画技艺与宗族文化为一体，在斑驳古卷之中，晕开了一个家族敬宗追远的绵长情怀。",[7,23,24,25,27,28,106,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c51043de18245b2f92478cab57f26b.jpg",[],{"id":74422,"slug":74423,"title":74424,"dynasty":277,"author":278,"museum":311,"description":74425,"tags":74426,"thumbUrl":74427,"material":2164,"size":2165,"collection":139,"collections":74428,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231841,"gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-xia-bu-yi-ming-231841","古画花鸟山水人物粉本-人物卷下部","本卷四段各有章法，右侧武将以精工线描勾勒甲胄纹饰，华丽细致，威严尽显。中段渡海一景，晕染水波灵动逼真，舟中撑船人姿态写实自然，朴拙设色晕开沧溟意境。左二高僧以白描写就，衣褶圆转舒展，头光晕染柔和，尽显出尘安然气度，最左僧者神情静谧淡然。整体兼工带写，白描清雅简练，设色柔和古旧，精准捕捉不同身份人物特质，笔意松弛却神态各彰，尽显古雅的东瀛人物画韵味。",[7,23,24,25,244,27,106,174,435,29,59075,19635,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9b18253a54221ac9ea9ae208a86fb0.jpg",[],{"id":74430,"slug":74431,"title":74432,"dynasty":277,"author":74433,"museum":311,"description":74434,"tags":74435,"thumbUrl":74436,"material":2164,"size":2165,"collection":139,"collections":74437,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231829,"jing-shang-xin-wan-juan-yi-teng-bo-wen-231829","井上馨宛卷","伊藤博文","伊藤博文伊藤（伊藤博文伊藤，1841年10月16 - 1909 10月26日）时，明治阶段日本的政治家[1] 。排名Kunto爵位在按照首位大订单的公爵。\n明治时代在4度到内阁制晚些时候推出的首相（第一代：1885年- 1888年，五代：1892年- 1896年- 7代：1898年，10代：1900年- 1901年），已知的作为。在第一次内阁时，他成为中心人物的起草工作中的明治宪法，并在时间的第二个机柜，他起草了中日和平条约。在四阶内阁中，通过创立创始人总统（在任1900 年至1903 年）组建了新政府rikken seiyūkai，并为政党政治铺平了道路。另一位主要的枢密院主席（任期1888 年-1889），主要的上议院主席府（任期1890年- 1891年），创始人韩国居住总（在办公室1905年- 1909年），参议院被服务等。\n讳是伊藤博文（伊藤博文，有时读为“ Hakubun ”）。他还称自己为“ Ochijuku Ryohirofumi ”。小名被改期到（补赛）后，吉田松荫从给定俊英顺俊介和（俊介），进一步Harusuke改名（俊介）。不。春嵘（Shunpo），常被称为Haruseoyake。所述小田原排屋的沧浪亭，因为它是在占有沧浪阁主人被称为（所以城堡丈夫）符号和密封也用作一个。",[7,24,86,25,178,2570,173,263,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d413e5167b26e90276d1e60627bbdfe.jpg",[],{"id":74439,"slug":74440,"title":74441,"dynasty":277,"author":278,"museum":311,"description":74442,"tags":74443,"thumbUrl":74444,"material":2164,"size":2165,"collection":139,"collections":74445,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231828,"yang-sheng-xun-shou-gao-quan-juan-yang-sheng-xun-shou-gao-quan-juan-yi-ming-231828","养生训手稿全卷-养生训手稿全卷","此作为行书长卷，开篇擘窠大字雄劲开张，笔力沉厚浑朴，颇有颜体宽博气象，后续小字行书舒展连贯，提按转折间筋骨尽显，墨色浓枯变幻自然，章法疏密错落，通篇一气呵成，韵致悠长。\n内容为养生之训，文辞意涵与笔墨意趣相融相衬，将修身静气的哲思寄寓于流动线条之中，缓急徐舒间藏内敛静气，既见书写者的笔底功力，也尽显其对养生之道的通透体悟，书卷气盎然，是兼备文学性与艺术性的书法佳制。",[7,86,178,25,19422,2547,263,5153,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7152585e5aca7365e5983ebf24ba5cd.jpg",[],{"id":74447,"slug":74448,"title":74449,"dynasty":277,"author":71703,"museum":311,"description":74450,"tags":74451,"thumbUrl":74452,"material":2164,"size":2165,"collection":139,"collections":74453,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[7,23,24,25,173,27,86,178,2570,263,29,226,369,106,175,266,227,406,402,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":74455,"slug":74456,"title":74457,"dynasty":277,"author":278,"museum":311,"description":74458,"tags":74459,"thumbUrl":74460,"material":2164,"size":2165,"collection":139,"collections":74461,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231799,"ri-ben-jiang-hu-shi-qi-shou-juan-yi-ming-231799","日本江户时期手卷","此卷行书笔墨酣畅，通篇行气贯通，字势顾盼相生，提按转合间尽显书写时的随性快意。枯湿浓淡自然变幻，牵丝映带灵动飘逸，既恪守晋唐行书隽雅法度，又不失狂放舒展的写意意趣。\n整卷为题咏诗文，书者笔随文势起伏，抒情处笔意舒缓温雅，激昂处笔墨恣肆开张，将文辞情志与书法笔韵相融无间，笔墨间尽显文人的旷达襟怀。章法排布疏密有致，卷首卷尾印信点缀得宜，通篇浑然一体，尽显书者深厚功底与潇洒风骨，是一件极具抒情性的行书佳作。",[7,25,86,178,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe027a5552153bbfd251e3763006f6a8.jpg",[],{"id":74463,"slug":74464,"title":74465,"dynasty":277,"author":74466,"museum":311,"description":74467,"tags":74468,"thumbUrl":74469,"material":2164,"size":2165,"collection":139,"collections":74470,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231782,"zhu-ming-jia-shou-jian-shou-jian-duo-he-jie-yong-deng-231782","诸名家手简 手简","多贺芥勇等","这卷草书手简以笔墨为心音，行笔随性萧散，线条提按转折间尽显文人笔底风神。通篇布局错落随心，字距行间疏密相生，无刻意经营的匠气，带着日常尺牍书写的松弛畅意。枯湿浓淡的墨色交织，牵丝映带里藏着书写时连贯的思绪情绪，将尺素寸心化作纸上云烟。以笔为语，把日常叙寄的意绪融在每一处笔墨细节中，率真自在的书写状态，尽显文人信札书法的萧散雅趣，是将日常闲情化为笔墨意趣的动人之作。",[7,86,25,178,2570,7330,2547,38970,22584],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690edad3d184081878b05d055e5ac915.jpg",[],{"id":74472,"slug":74473,"title":74474,"dynasty":277,"author":278,"museum":311,"description":74475,"tags":74476,"thumbUrl":74477,"material":139,"size":139,"collection":139,"collections":74478,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231775,"liu-qiu-feng-su-tu-juan-yi-yi-ming-231775","琉球風俗图卷一","这幅长卷定格了琉球迎神游行的热闹仪典。开篇旗手高擎仪仗，孩童引逗纹饰灵动的醒狮，热络开场。紧随其后的仙官、番使与乐役次第列队，人物服饰纹饰各异，或庄严肃穆，或俏皮鲜活，细节饱满。设色素雅明快，笔触质朴写实，带着民间绘画的鲜活意趣，完整还原了节庆游行的庄重与欢悦，将异域民俗的鲜活场面留存，兼具纪实性与民俗审美价值，尽显这场仪典的融融烟火气。",[7,27,28,25,106,808,63,247,2949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9934e7a653aeca7574b60898965053e.jpg",[],{"id":74480,"slug":74481,"title":74482,"dynasty":277,"author":62566,"museum":311,"description":74483,"tags":74484,"thumbUrl":74485,"material":2164,"size":2165,"collection":139,"collections":74486,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231757,"xiao-ye-jia-jiu-cang-yi-teng-gui-jie-231757","小野家旧藏","伊藤圭介（伊藤圭介，ToruKazu 3年1月27日（1803年2月18日） -明治1934（1901） 1月20日），在江户时期的结束，从明治时期的采药人-荷兰研究人，自然·医学博士。日本第一位理学博士。男爵。它也以创造“雄蕊”、“雌蕊”和“花粉”等词而闻名。尾张省名古屋市（现爱知县名古屋市）出生。名字是顺民和清民。角色是大子和圭介。不。锦窠。",[7,86,25,178,2570,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1195ff2293dc1dddc74712cb8907ad47.jpg",[],{"id":74488,"slug":74489,"title":74490,"dynasty":277,"author":278,"museum":311,"description":74491,"tags":74492,"thumbUrl":74494,"material":2164,"size":2165,"collection":139,"collections":74495,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},231729,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-juan-shang-bu-yi-ming-231729","江户时期 乡村故事绘卷-上部","此绘卷为典型和汉物语长卷形制，图文错落排布。平假名草书舒展流丽，浅底衬着莳金暗纹，古雅沉静。三幅设色古画各有意趣：山林间高士凭崖闲坐，水畔处甲士趁舟行军，廊下众人雅集清谈。敷色沉稳古拙，线条朴拙生动，将乡野旧闻的叙事性藏于笔间，把文情画意融于长卷，带着旧纸特有的温润质感，铺展开一卷裹着古意的乡野往昔。",[7,25,27,28,86,2570,106,29,150,403,226,26,109,1755,34,43029,74493,436],"骑马场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ced2fa0e0a87ba1faa1d5cc78070d2e.jpg",[],{"id":74497,"slug":74498,"title":74499,"dynasty":277,"author":74500,"museum":311,"description":74501,"tags":74502,"thumbUrl":74503,"material":2164,"size":2165,"collection":139,"collections":74504,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},231722,"jiang-hu-shi-dai-niao-zhi-xiao-jing-tu-ping-feng-shen-jiang-lu-zhou-231722","江户时代 茑之小径图屏风","深江芦舟","深江 芦舟（ふかえ ろしゅう、別表記：深江 蘆舟、1699年（元禄9年）- 1757年5月25日（宝暦7年4月8日））は、江戸時代中期の画家である。名は庄六。別号に青白堂。",[7,23,24,27,28,384,606,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F190ac07d878e980e83e2da06bc988375.jpg",[],{"id":74506,"slug":74507,"title":74508,"dynasty":277,"author":74509,"museum":311,"description":74510,"tags":74511,"thumbUrl":74512,"material":2164,"size":2165,"collection":139,"collections":74513,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231717,"shi-ting-shi-dai-xing-guang-si-yuan-qi-hua-juan-shang-xia-juan-xia-tu-zuo-guang-xin-231717","室町时代 星光寺缘起画卷上下卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[7,27,28,104,25,24,106,107,29,34,114,115,31,557,7385,243,13069,4272,1003,8782,42181,32058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e8c658f98ed5e6da2b6f79695a224.jpg",[],{"id":74515,"slug":74516,"title":74517,"dynasty":277,"author":278,"museum":311,"description":74518,"tags":74519,"thumbUrl":74520,"material":2164,"size":2165,"collection":139,"collections":74521,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},231682,"jiang-hu-shi-qi-ren-wu-tu-zhou-yi-ming-231682","江户时期 人物图轴","秋夜江天，月色衔着薄云晕开清光，归雁列队划破岑寂。茅舍檐下苇席铺陈，振袖女子以袖掩面，柔婉身形似含幽绪，席上男子持扇凝睇，案间布帛轻置，日常缱绻里漫着淡淡别意。丹枫斜枝缀着艳色，衬着茅檐朴拙，水畔木架与幽草晕开野趣。笔触清隽雅致，设色柔润古雅，将市井儿女的悱恻心事融在江秋夜色里，把幽微情愫藏在景致与情态之间，淡远缱绻，尽显和风古典的温婉余韵。",[7,23,24,225,27,106,266,285,27888,264,384,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb2250af231ae36a00e00ab660d322.jpg",[],{"id":74523,"slug":74524,"title":74525,"dynasty":277,"author":74526,"museum":311,"description":74527,"tags":74528,"thumbUrl":74529,"material":2164,"size":2165,"collection":139,"collections":74530,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231669,"jiang-hu-shi-dai-ying-jian-quan-shi-xiang-zhou-du-bian-feng-shan-231669","江户时代 鹰见泉石像轴","渡边峰山","这幅肖像以清劲线条勾勒身形，淡彩晕染衣袍，浅素底色衬出人物沉静威仪的气度。画家精准捕捉了主人公锐利沉稳的眼神，将其儒士风雅与武者刚毅融于一身，乌帽发型细节写实还原风貌，腰间胁差纹饰精巧，尽显身份不凡。皮肤晕染细腻自然，将面部肌理与神情刻画得栩栩如生，淡雅和服配色素雅且层次分明，留白构图烘托出静谧肃穆的氛围，尽显肖像画写实传神的美学意趣。",[7,209,225,27,106,63,2508,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d3ad3fe54a3dd0fc3d8910f1227cf8a.jpg",[],{"id":74532,"slug":74533,"title":74534,"dynasty":277,"author":278,"museum":311,"description":74535,"tags":74536,"thumbUrl":74538,"material":139,"size":139,"collection":139,"collections":74539,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},231653,"xi-ma-tu-juan-yi-ming-231653","戏马图卷","此卷以淡彩施绘，笔墨清简秀逸。右端平远郊野间，群马散游浅草坡地，或垂首啮草，或信步徐行，村舍隐于林麓，漾着乡野闲静意趣。随卷左移，画面渐次鲜活：仆役控缰牵马，骑手们或策马奔腾，或俯身控御烈马，更有健儿挥弄长械戏马，烈马扬鬃奋蹄，人马的灵动神态被简练线条勾勒尽致。浅青、淡赭的淡设色调雅致柔和，将牧养日常与游嬉之趣相融，把民间驯马戏马的鲜活图景缓缓铺展，尽显世俗生活的生动意韵。",[7,23,24,25,27,28,106,150,29,8925,557,9857,74537],"动态场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8fcb02ee6658a46924bfa4d3b69f70.jpg",[],{"id":74541,"slug":74542,"title":74543,"dynasty":277,"author":19249,"museum":311,"description":62592,"tags":74544,"thumbUrl":74546,"material":2164,"size":2165,"collection":139,"collections":74547,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},231583,"shi-ting-shi-dai-zhu-mai-chen-tu-ping-feng-shou-ye-yuan-xin-231583","室町时代-朱买臣图-屏风",[7,299,173,177,29,1365,558,74545,109,4176],"木桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5725e6322531d4c8eda84b8d3a07c34.jpg",[],{"id":74549,"slug":74550,"title":74551,"dynasty":277,"author":278,"museum":311,"description":74552,"tags":74553,"thumbUrl":74557,"material":2164,"size":2165,"collection":139,"collections":74558,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},231576,"xu-kong-cang-pu-sa-xiang-dong-jing-yuan-ben-yi-ming-231576","虚空藏菩萨像( 东京原本)","菩萨面容圆融慈悲，神态沉静庄严，宝冠璎珞遍饰周身，衣纹流转间尽显华贵端庄。身周放射出灼灼光焰，将菩萨的神圣威仪烘托得淋漓尽致，深暗底色更衬出造像明丽肃穆。\n\n莲台层叠繁茂，青绿主调晕染出古朴雅致的气韵，下方青绿山水铺陈，将圣像融于天地悠悠之间，让宗教的神圣感晕染出东方山水的悠远意境。\n\n整作线条精细流畅，设色厚重古雅，装饰细节分毫毕现，尽显匠者巧思，将菩萨福德圆满、智慧无尽的意象尽显无余，是兼具宗教性与艺术性的上乘造像。",[7,23,243,106,74554,27,26,28,74555,29,74556,40856],"虚空藏菩萨","莲台","神圣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c24b01576e37122623560d1ecb4918f.jpg",[],{"id":74560,"slug":74561,"title":74562,"dynasty":277,"author":278,"museum":311,"description":74563,"tags":74564,"thumbUrl":74565,"material":2164,"size":2165,"collection":139,"collections":74566,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},230987,"niao-yu-seng-zheng-hua-juan-yi-ming-230987","鸟羽僧正画卷","淡彩晕染搭配稚拙灵动的线条，定格了一出荒诞喧嚣的街头闹剧。左侧奔逃的百姓神色惊惶，推搡拥挤间衣袂翻飞，尽显狼狈惶急，妇孺跌扑奔窜，满是仓皇失措之态。右侧官吏差役神态骄横各异，或挥臂喝斥、或持扇作态，将官威凌人的跋扈展露无遗。\n整幅画作以写意笔调勾勒众生，情态各有不同，将官民对立的张力拉至极致，以戏谑的民间视角辛辣铺陈衙役驱民的现实，笔意朴拙却鲜活生动，暗喻着对世俗不公的讽刺。",[7,209,23,24,25,27,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc575e2ca921dbcd470913fa4023ce3.jpg",[],{"id":74568,"slug":74569,"title":81,"dynasty":76,"author":67295,"museum":311,"description":74570,"tags":74571,"thumbUrl":74572,"material":2164,"size":2165,"collection":139,"collections":74573,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},230354,"ce-zhang-zhao-230354","张照（1691～1745），字得天，号泾南，亦号天瓶居士，江南娄县人。康熙四十八年进士。清藏书家、书法家、戏曲家、书画目录整理者。",[7,86,621,81,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a845d034de61b42f705ca7e8a01a36.jpg",[],{"id":74575,"slug":74576,"title":74577,"dynasty":76,"author":278,"museum":311,"description":74578,"tags":74579,"thumbUrl":74580,"material":139,"size":139,"collection":139,"collections":74581,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},230318,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-qi-a-ge-yong-lin-yi-ming-230318","历代帝王贵妃大臣朝服像(十七阿哥永璘)","此作工笔精绝，绘就亲贵仪范。宝蓝朝服之上，正龙团纹平金绣制，丝丝细密清晰，十二章纹错落排布，暗合礼制规制，尽显宗室尊荣。朝珠朱润莹亮，顶戴制式严整，细节处处恪守清代仪轨。\n\n人物沉静端坐在髹漆描金王座之上，锦垫纹样华丽繁复，烘托出肃穆华贵的氛围。画师用笔写实细腻，晕染柔和自然，将人物内敛持重的气度刻画入微，设色沉雅庄重，既还原了清代近支亲贵的真实风貌，也是清代肖像画中纪实性与艺术性兼具的佳构。",[7,315,28,8035,27,106,340,344,20501,343,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaba8ea958e0a91e6d01c3784862ae95.jpg",[],{"id":74583,"slug":74584,"title":74585,"dynasty":76,"author":278,"museum":311,"description":74586,"tags":74587,"thumbUrl":74588,"material":139,"size":139,"collection":139,"collections":74589,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},230315,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ba-a-ge-yin-si-yi-ming-230315","历代帝王贵妃大臣朝服像(八阿哥胤禩)","此作写实细腻，人物端坐沉稳威严。朝服之上团龙纹以金线勾勒，五爪神龙矫健灵动，形制严谨的细节尽显清代宗室礼制规制。暖红官帽配孔雀花翎，晕染入微，将华贵身份烘托尽致。\n\n画师以精妙笔触刻画面容，眉目沉静内敛，神态传神，还原出人物沉稳气度。设色调和雅致，背景晕染柔和朦胧，烘托出庄重肃穆的氛围，尽显清代肖像画恪守礼制又传神写实的典型特色，精准定格了这位贵胄的威仪风貌。",[7,315,28,27,106,63,433,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc021557dab49a3b57aca25d5696ff057.jpg",[],{"id":74591,"slug":74592,"title":74593,"dynasty":76,"author":278,"museum":311,"description":74594,"tags":74595,"thumbUrl":74598,"material":139,"size":139,"collection":139,"collections":74599,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},230314,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-qin-wang-ai-xin-jue-luo-hong-zhou-yi-ming-230314","历代帝王贵妃大臣朝服像(亲王爱新觉罗.弘昼)","整作取景春日庭院，古柳垂绦抽新绿，花树缀粉、湖石错落，晕染出悠然雅致的闲居氛围。主位贵胄安坐石上，展卷细读，神态松弛自适。两侧侍从躬身奉物，身姿恭谨，将清代宗室日常仪制暗藏其间。\n\n衣纹描摹细腻写实，旗装官帽的制式纹理清晰可见，衣料褶皱层次自然，把服饰质感还原入微。设色调和柔润，衣袍的暗紫、赭红与草木新色相映，工笔勾勒兼顾写意氛围感，将贵胄春日闲读的松弛日常铺陈开来，兼具纪实性与审美意趣，鲜活再现了旧时王府一隅的平和图景。",[7,23,27,28,106,1322,176,386,298,266,1003,36269,229,74596,74597],"小植物","淡彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cca75b7d728fa0178020b8b4edc4960.jpg",[],{"id":74601,"slug":74602,"title":74603,"dynasty":76,"author":278,"museum":311,"description":74604,"tags":74605,"thumbUrl":74607,"material":139,"size":139,"collection":139,"collections":74608,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":255},230311,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-jiu-a-ge-yin-tang-yi-ming-230311","历代帝王贵妃大臣朝服像(九阿哥胤禟)","此作工笔写实，将宗室贵胄的矜重威仪尽显无余。画中人物坐姿端方，双手按于扶手，面容沉毅肃穆，神态不怒自威。吉服纹饰极为考究，前胸正龙团纹精细繁复，龙形矫健灵动，祥云环绕其间，缂丝质感描摹逼真，衣身寿字暗纹隐现，贴合清代宗室服饰规制。设色调和古雅，素净背景烘托出人物主体，笔触精细入微，从冠帽形制到衣褶晕染皆严谨细致，精准还原出这位皇子的气度风貌，尽显清代肖像画礼制与写实兼备的精妙特质。",[7,23,24,225,28,27,106,433,63,20501,74606],"寿字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc307bd4c17905f1d02a41ce7d771c1f4.jpg",[],{"id":74610,"slug":74611,"title":74612,"dynasty":76,"author":74613,"museum":311,"description":74614,"tags":74615,"thumbUrl":74616,"material":139,"size":139,"collection":139,"collections":74617,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},230267,"li-xu-xing-le-tu-zhou-dao-230267","李煦行乐图","周道","此作用色明润清雅，右段绘就江南林泉幽境：修竹海立、奇石卧波，繁花绕树，主人在松下凭坐休憩，僮仆侍立侧旁，一派林下忘机的闲静安和。\n\n左侧长卷题咏琳琅，明清诸家题诗满纸，诗画合璧。整作将文人幽居丘壑、卧游行乐的雅致心境融于笔墨设色之间，把江南文园的清旷闲逸与主人的林下风流烘托尽致，尽显传统行乐图诗画相映的隽永意趣。",[7,23,24,25,27,106,29,226,403,109,178,263,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524d0806fa208d75ea4b0e10983f76ab.jpg",[],{"id":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。清朝光绪年间举人，中国近代思想家、政治家、教育家、史学家、文学家，戊戌变法（百日维新）领袖之一、中国近代维新派、新法家代表人物。 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风神与文人孤傲品格相融，清雅脱俗，余韵悠长。",[7,23,24,81,27,83,84,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff87a8cacac29b8f8f20ecdeeefa4100.jpg",[],{"id":74815,"slug":74816,"title":74817,"dynasty":76,"author":1929,"museum":311,"description":74818,"tags":74819,"thumbUrl":74820,"material":139,"size":139,"collection":139,"collections":74821,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},224298,"hua-hui-shi-er-kai-10-li-shan-224298","花卉十二开10","这幅小品将水仙与日常蒜头并置，打破雅俗边界。淡墨轻扫水仙叶片，笔意舒展灵动，花瓣晕染留白，清逸柔婉。一旁蒜头以枯笔极简勾勒，憨拙质朴，二者相映成趣。\n题款笔墨恣肆，暗合“同是蒜也，可雅可俗”的谐趣，尽显文人随性诙谐的意趣。水墨设色简淡却神采具足，把清雅花草与日常风物相融，消解雅俗对立，寄寓画师对生活的通透体察，笔情墨趣间尽显写意花鸟的灵动生机。",[7,23,24,81,27,400,405,84,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273442628b32e2197828f1322a679f80.jpg",[],{"id":74823,"slug":74824,"title":74825,"dynasty":76,"author":29211,"museum":311,"description":29212,"tags":74826,"thumbUrl":74827,"material":2164,"size":2165,"collection":139,"collections":74828,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},224289,"he-yu-qing-zhang-wu-shi-er-de-zi-shi-juan-fu-shan-224289","贺毓青丈五十二得子诗卷",[7,24,86,25,2570,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0256bed931e310b20e03ef45c4411af2.jpg",[],{"id":74830,"slug":74831,"title":74832,"dynasty":76,"author":29211,"museum":311,"description":74833,"tags":74834,"thumbUrl":74835,"material":139,"size":139,"collection":139,"collections":74836,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},224285,"jin-gong-qian-gu-yi-kuai-si-tiao-ping-fu-shan-224285","晋公千古一快四条屏","《傅山草书经典:晋公千古一快四条屏》主要内容：傅山（一六○五——一六八四），字青主，看署名号有：傅山、山、真山、侨山等四十余个，明末清初著名学者、书法家。\n傅山一生磊落孤傲，拒不仕清，具有崇高的民族气节。\n其书法雄厚豪放，富有浪漫色彩。\n其以[二王]为宗，取法颜真卿，上追魏晋及宋元诸家，特别是米芾的疏狂颠逸之书风对他影响颇深。\n傅山楷隶行草诸体兼擅，但艺术成就最高的当属他的草书。\n从其行草书法作品中可以看出，其笔势雄浑，如排山倒海，一发不可收；其线条婉转飘逸，如枯藤绕树，缠绵起伏；其点画顿挫抑扬，如乱石铺街，险峻跌宕，因而显得大气磅礴，生机盎然。\n近年来，随着书法热的持续升温，傅山的书法也越来越受到人们的关注，特别是他的行草书，更是受到许多书法家和书法爱好者的喜爱。\n本书精选的是《晋公千古一快四条屏》。\n该作是最能代表傅山书法成就的行草书经典之作，以餮读者。\n《傅山草书经典:晋公千古一快四条屏》由河南美术出版社出版。\n插图：",[7,86,2570,10012,173,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb9f4feb890ba43b653b6b7203b1a86.jpg",[],{"id":74838,"slug":74839,"title":74840,"dynasty":76,"author":29211,"museum":311,"description":74841,"tags":74842,"thumbUrl":74843,"material":139,"size":139,"collection":139,"collections":74844,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},224281,"shan-shui-hua-hui-ce-shi-wu-fu-shan-224281","山水花卉冊(十五)","此作用留白摹绘空濛水面，虚实相映间晕染出澹远氛围。淡赭铺就底色，晕开温润古雅的基调。层叠飞檐的楼阁笔致沉稳工细，朴拙雅致，被繁茂林木掩映其中，苍润点叶勾勒出郁葱林木，将古建藏于幽林深处，尽显园居林下的幽谧雅致。整体笔墨简淡萧散，以极简的构图铺陈出悠然林泉意趣，将山居清逸诗意藏于毫端，尽显文人画静雅疏朗的气韵。",[7,23,27,81,104,29,107,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcefbf253f5d81cb951145273ef1c17b.jpg",[],{"id":74846,"slug":74847,"title":74848,"dynasty":76,"author":29211,"museum":311,"description":74849,"tags":74850,"thumbUrl":74851,"material":139,"size":139,"collection":139,"collections":74852,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},224276,"shan-shui-hua-hui-ce-liu-fu-shan-224276","山水花卉冊(六)","此作用淡赭勾勒峰峦，造型奇崛瘦硬，错落层叠间，孤亭踞于山巅，自带遗世独立之态。远景以浅淡晕染绘就平畴远渚，简淡空濛，留白铺展出天地的空阔寂寥。\n\n画面简笔淡墨，将山野清寂之态尽数铺陈，右上角题字笔意纵逸率真，与山水的萧散野逸融为一体，将寄情林泉、超然物外的襟怀藏于笔墨间，淡而弥远，简而有味，尽显文人写意山水的疏放意趣。",[7,23,24,81,173,177,29,175,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843f3dae55cff6f9f3046edc1d2d7f29.jpg",[],{"id":74854,"slug":74855,"title":74856,"dynasty":76,"author":29211,"museum":311,"description":74857,"tags":74858,"thumbUrl":74859,"material":139,"size":139,"collection":139,"collections":74860,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},224273,"shan-shui-hua-hui-ce-er-fu-shan-224273","山水花卉冊(二)","此作以淡赭晕染出水天浑然的底色，群峰被绘作奇崛瘦硬的嶙峋之态，如笋如刃错落浮于虚渺烟岚之间。山间林木以细笔极简点簇，萧疏冷逸。画面留白肆意铺陈，勾勒出荒寒空濛的幽寂意境。左侧题印与山水相映，添了文墨雅趣。画家舍去繁复皴染，以简淡笔墨写胸中丘壑，将北方山川的奇峭风骨，与遗世孤高的文人意趣相融，尽显清冷淡远的禅味，笔墨简净却意韵悠长。",[7,23,24,81,173,27,29,229,108,34,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a89b3cc5fc5b36085465ba8a7fd6dc.jpg",[],{"id":74862,"slug":74863,"title":74864,"dynasty":76,"author":74865,"museum":311,"description":74866,"tags":74867,"thumbUrl":74868,"material":2164,"size":2165,"collection":139,"collections":74869,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},224267,"song-bie-tu-wang-gai-224267","送别图","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[7,23,24,25,173,178,86,263,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8d8fef4867d67a697bf2e48c6fb0a1.jpg",[],{"id":74871,"slug":74872,"title":74873,"dynasty":76,"author":74874,"museum":311,"description":74875,"tags":74876,"thumbUrl":74877,"material":139,"size":139,"collection":139,"collections":74878,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},224266,"dou-bi-dan-tai-tu-jiang-zhu-224266","陡壁丹台图","江注","《新安画派书画精品集》以渐江为代表的新安画派及与之同时的一些杰出画家的创作成就，同时介绍作为“源”的在他们之间的一些著名画家与作为“流”的在他们之后一些画家的创作成就，叙述对新安画派、新安画坛的创作有深刻影响的绘画美学思想，特别是新安人的绘画美学思想。\n《新安画派书画精品集》由 出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 汪梅鼎云光林翠图卷",[7,209,23,24,225,173,27,177,29,106,34,1365,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a377bbdc316fd42f6a777df356cbf29.jpg",[],{"id":74880,"slug":74881,"title":74882,"dynasty":76,"author":43789,"museum":311,"description":74883,"tags":74884,"thumbUrl":74885,"material":139,"size":139,"collection":139,"collections":74886,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},224262,"qiong-hua-lou-li-shi-zhuo-224262","琼华楼","此作书画合璧，以淡墨绘就平林寒色，枯木虬枝萧疏错落，坡石隐现间，楼宇澹然栖于山坳林畔，晕染极简却意境幽寂出尘。\n笔底不施重彩，全以枯淡线条勾勒物象，将林泉雅致化为世外灵墟。左侧题诗笔力端稳清劲，诗画相和，以仙苑之思呼应画中意境，把林下幽怀寄于简淡笔墨。整体清雅绝尘，淡而有味，尽显文人画以笔写心、诗画交融的意趣，留白间藏着悠远禅意，将观景之思升为世外清怀。",[7,23,24,173,244,29,107,34,176,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b02acaee4aa214f25c0229bef39c392.jpg",[],{"id":74888,"slug":74889,"title":74890,"dynasty":76,"author":74891,"museum":311,"description":74892,"tags":74893,"thumbUrl":74894,"material":139,"size":139,"collection":139,"collections":74895,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},224198,"gao-tu-jing-she-tu-li-shi-zhuo-224198","皋涂精舍图","李士倬","以淡墨轻皴山峦，浅赭晕染铺就清润底色，将精舍安置在山坳间，周遭林木错落、屋舍隐现，丘壑缓舒间尽显雅静幽寂。\n\n书画合璧，题跋与山水相映，笔致松秀萧散，没有繁复勾勒，只以极简皴擦写尽山石肌理，草木点染随性清疏，将林泉高致融于尺幅间，把文人遁迹丘山、寄情林泉的雅怀缓缓铺陈，意境淡远超脱，尽显清逸出尘的文人画风骨，寥寥笔墨勾勒出诗意山居的澹澹意趣。",[7,23,29,104,173,177,86,263,225,734,34,107,114,1267,1265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a2ed7b7e19a09c785c8e47769d9c94.jpg",[],{"id":74897,"slug":74898,"title":74899,"dynasty":18,"author":278,"museum":311,"description":74900,"tags":74901,"thumbUrl":74902,"material":139,"size":139,"collection":139,"collections":74903,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},223684,"xun-qin-fu-zhuo-tu-ye-yi-ming-223684","驯禽俯啄图页","《宋人画驯禽俯啄图》是宋代佚名创作的绢本设色画。\n此图原载《宋元集绘册》。\n图绘一件浅蓝色瓷罐置于画面正中，一只小麻雀于罐沿上低头觅食。\n雀身系一赤色小绳，绳端拴一圆圈，以点出「驯禽」之意。\n作者先用细笔勾出鸟的轮廓，然后用细笔丝出羽绒，再用浓墨点出翅膀、鸟尾和眼珠，使小鸟的形象生动逼真，具有较强的质感。\n全图笔法工细，构图简洁，设色柔和自然。\n此图无款，旧题签为「驯禽俯啄」，现沿用此名。\n画面左下角钤「宋荦审定」一印。\n曾经清人宋荦收藏，《石渠宝笈三编》著录。\n本幅无款。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人驯禽俯啄”。\n图中一只 立于浅蓝色敞口瓷罐上，低头欲啄罐沿。\n麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。\n麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。\n画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[7,209,23,24,81,27,28,83,370,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5063ca27005a536981c4ba62953d8db8.jpg",[],{"id":74905,"slug":74906,"title":71241,"dynasty":18,"author":278,"museum":311,"description":74907,"tags":74908,"thumbUrl":74909,"material":139,"size":139,"collection":139,"collections":74910,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},223628,"he-tang-xi-lai-tu-yi-ming-223628","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 本幅无款印。\n清《石渠宝笈续编》著录。",[7,23,209,24,28,27,83,227,136,370,282,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be29216666561141745ebb74a270e35.jpg",[],{"id":74912,"slug":74913,"title":74914,"dynasty":18,"author":278,"museum":20,"description":74915,"tags":74916,"thumbUrl":74917,"material":67,"size":74918,"collection":139,"collections":74919,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":255},223585,"tian-jun-zui-gui-tu-juan-yi-ming-223585","田畯醉归图卷","田畯是古时管理田地的官员。图中绘村官田畯接受乡民敬酒后，骑牛醉归的情景。老者戴簪花巾子，袍带松落，穿平民麻鞋，动作僵硬，满脸醉意，由人扶持，前面有村童一边牵牛，一边吃包子，生动表现乡村生活的一景。",[7,25,28,27,106,151,265,86,178,173,1422,34,6353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbff0c953615a5950f2c984a7e1c392b.jpg","21.7x75.8",[],{"id":74921,"slug":74922,"title":74923,"dynasty":18,"author":278,"museum":311,"description":74924,"tags":74925,"thumbUrl":74926,"material":16468,"size":74927,"collection":139,"collections":74928,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},223514,"shu-se-qing-yuan-yi-ming-223514","树色清远","绘崇山峻岭，树木林立，近景中小桥流水，隐约可见农夫担柴过桥。此卷有郭熙风格，蟹爪形树枝，画面布局等，有着郭熙画风中空远广阔之景。",[7,23,24,25,173,177,29,384,176,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d346d51b98ba5168b74928d312811d2.jpg","25x651cm",[],{"id":74930,"slug":74931,"title":74932,"dynasty":76,"author":278,"museum":206,"description":31698,"tags":74933,"thumbUrl":74934,"material":139,"size":139,"collection":139,"collections":74935,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},223415,"ma-zu-qi-ji-f-yi-ming-223415","妈祖奇迹F",[7,23,24,315,27,28,104,243,106,111,3191,266,4140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d00332986b470d20138fbc256b149f.jpg",[],{"id":74937,"slug":74938,"title":74939,"dynasty":76,"author":278,"museum":206,"description":74940,"tags":74941,"thumbUrl":74943,"material":139,"size":74944,"collection":139,"collections":74945,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},223330,"wan-qing-jia-he-yi-ming-223330","万顷嘉禾","此作用泥金施于石青地，色调华贵雅致。水网交织的江南水乡里，田畴铺展，农人往来舟桥之间，或于田埂忙碌，柳丝轻曳如烟，远山含黛温润柔和。\n\n鲜活复刻了春日农耕的日常图景，将田家烟火揉进细腻工笔中。静穆底色上，金彩勾勒出的屋舍、田亩与人影，让整幅画面于华贵中晕开质朴暖意，静中有动，把江南春耕的融融生机晕染成诗意画卷，藏着平和饱满的田园意趣。",[7,23,24,28,27,29,106,108,109,34,74942],"禾苗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F352139e8795726d873a59baf620b434a.jpg","67x101.2",[],{"id":74947,"slug":74948,"title":74949,"dynasty":76,"author":4040,"museum":56,"description":74950,"tags":74951,"thumbUrl":74952,"material":16468,"size":74953,"collection":139,"collections":74954,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},223282,"jie-shu-yuan-jing-lou-ji-liu-yong-223282","节书远景楼记","刘墉的墨法“以浓用拙，以燥用巧”，擅长以“浓墨助其采”，被人戏称为“浓墨宰相”。但用“浓”字来概括刘墉书法的用墨特点并不准确，用一个“丰”字来加以形容或许更加合适。\n刘墉书法在历史上曾有“墨猪”之诮，但这只是一种表浅的意见。如果仔细品味刘墉书法的原作，就会发现他作品中“浓墨”非但没有使自己的字变成“墨猪”，反而增添了字的光彩，这是因为他的用墨充满了“活趣”。他的字只是表面看来肥厚臃肿，实际却是在“丰貌”之下隐含着“劲骨”——那些墨块非但并不“板滞”，反而晶莹剔透，层次清楚，光彩照人！透过层次丰富的墨色轮廓，点画内部笔毫运动的轨迹清晰可见，如“绵里裹铁”！．这就使他的书法味厚神藏，在朴素的外表下透露出内蕴的风采。",[7,209,23,24,86,225,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f91f9ae8526d11d0d73de325ad2c2e6.jpg","纵125.5cm，横56.3cm",[],{"id":74956,"slug":74957,"title":74958,"dynasty":76,"author":11591,"museum":20,"description":41122,"tags":74959,"thumbUrl":74960,"material":40,"size":41125,"collection":139,"collections":74961,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":49},223152,"yao-xie-shi-yi-tu-ce-di-liu-kai-ping-gang-luan-mu-qun-yang-zhai-ren-xiong-223152","姚燮诗意图册-第六开：平冈乱木群羊宅",[7,23,27,173,81,177,29,34,6545,808,176,9402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf3ffe6ac63fdee50b861c02a885762.jpg",[],{"id":74963,"slug":74964,"title":74965,"dynasty":76,"author":11591,"museum":20,"description":41122,"tags":74966,"thumbUrl":74968,"material":40,"size":41125,"collection":139,"collections":74969,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},223151,"yao-xie-shi-yi-tu-ce-di-ba-kai-xia-you-che-lang-jing-shang-you-ni-xiao-gu-ren-xiong-223151","姚燮诗意图册-第八开：下有掣浪鲸，上有睨霄鹘",[7,23,27,28,81,266,74967,3191],"鲸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381071e5a50e4da6690d2ce90e50d223.jpg",[],{"id":74971,"slug":74972,"title":74973,"dynasty":76,"author":11591,"museum":20,"description":41122,"tags":74974,"thumbUrl":74976,"material":40,"size":41125,"collection":139,"collections":74977,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},223149,"yao-xie-shi-yi-tu-ce-di-er-kai-du-ye-ling-bo-jing-gu-deng-shi-er-zhi-ren-xiong-223149","姚燮诗意图册-第二开：独夜凌波景，孤镫是尔知",[7,23,81,244,173,27,178,263,83,405,74975,228],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc49c27cd0d54af838bc7165d4071cc.jpg",[],{"id":74979,"slug":74980,"title":74981,"dynasty":76,"author":2946,"museum":206,"description":27075,"tags":74982,"thumbUrl":74983,"material":27079,"size":27080,"collection":139,"collections":74984,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},223095,"hua-di-shi-yi-zu-cha-ba-na-da-ga-zun-zhe-zho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在各种组合中不断地上演。“攀”重笔起，一气呵成地连贯下来，“攀藤路欲建”四个字，从湿到干，笔各个面在转换翻动，随着动作与情感的变化，笔头生花，节奏也跟着变化，源于心，发于手。心中的情感依靠手上的技巧变现于纸上。上一次的尽情演绎，感情未得以宣泄完，随着“常”的一竖，第一行的情感随之一泻千里。王铎的用笔，若与《书谱》比较，肯定是谈不上精巧的，而其胜人之处在于能通过大刀阔斧用笔与章法组合，一览无余地宣泄内心的情感。艺术之谓为艺术，在于其能通过技去表现人本而臻于道，而并非单纯的表现技术的层面。\n第一行的精彩演绎引发出第二行、第三行的交替组合。其实仅仅只是几个元素的重复，再从中发挥各种组合，便出现各种奇妙的效果。这也就是“自然生发关系”，其实通篇文字从开头两个字生发出来，情感随着变化，一直延伸，线条变化延绵的同时，感情也在高低起伏中扩散，到最后，小字收尾，既是一个结尾，也是情感宣泄到最后，一种“收”的表现。",[7,225,2570,86,10567,61937,60256,173,75025,27585,2547],"金山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74221d9bb38a574d4a0e4a4929ed5f08.jpg",[],{"id":75029,"slug":75030,"title":75031,"dynasty":99,"author":9817,"museum":78,"description":9818,"tags":75032,"thumbUrl":75033,"material":699,"size":27614,"collection":139,"collections":75034,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},222499,"shang-bo-hua-ji-xuan-36-7-zhang-lu-222499","上博画集选36-7",[7,23,173,244,106,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffec2f2eac2aace7bbd77f5ce19f35b4.jpg",[],{"id":75036,"slug":75037,"title":75038,"dynasty":99,"author":9817,"museum":78,"description":9818,"tags":75039,"thumbUrl":75040,"material":699,"size":27614,"collection":139,"collections":75041,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},222493,"shang-bo-hua-ji-xuan-36-18-zhang-lu-222493","上博画集选36-18",[7,23,24,173,27,244,106,808,229,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176250897c57274dbe9190eac2ccac21.jpg",[],{"id":75043,"slug":75044,"title":75045,"dynasty":99,"author":9817,"museum":78,"description":9818,"tags":75046,"thumbUrl":75047,"material":699,"size":27614,"collection":139,"collections":75048,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},222487,"shang-bo-hua-ji-xuan-36-12-zhang-lu-222487","上博画集选36-12",[7,23,24,173,244,106,4420,1115,1116,4421,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca18f28724eb808821b7582e6a2ef87.jpg",[],{"id":75050,"slug":75051,"title":75052,"dynasty":99,"author":75053,"museum":206,"description":75054,"tags":75055,"thumbUrl":75056,"material":75057,"size":75058,"collection":139,"collections":75059,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},222460,"shu-gu-shi-zhou-shen-can-222460","书古诗轴","沈粲","沈粲（1379－1453），字民望，号简庵，华亭（今上海）人，与沈度合称“二沈”。兄弟二人均因书法佳善，荐授中书舍人。沈粲行草书从二王得法，同时参取宋克和沈度的经验，行笔偶或出锋扬起波磔，别具飞动的态势。这件立轴书录元末明初诗人高启‘拟古诗’一首，点画瘦劲，融会大草书的体势，略与怀素狂草风格相近，由是可知，沈粲行草书原不止于一家之学。\n明朝一代书风，承续宋元以来帖学的传统。前期书法，明直接师承元人，以草书、楷书成就较大。为适应当时盛行的科举制度，由于沈度、沈粲擅长楷书和行草，光润妩媚，因得到永乐皇帝的溢美恩宠而声名显赫，朝野竞学，尤为中书舍人们所效法，形成被称为“纱帽字”的“台阁体”。",[7,99,86,225,2570,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f636614e2fcc767af22b02427225a0.jpg","纸本行草","纵83.4cm，横33.8cm",[],{"id":75061,"slug":75062,"title":75063,"dynasty":99,"author":12707,"museum":206,"description":75064,"tags":75065,"thumbUrl":75066,"material":699,"size":75067,"collection":139,"collections":75068,"showCount":1314,"zanCount":48,"manualWeight":48,"mainColor":94},222459,"gui-qu-lai-ci-zhou-shen-du-222459","归去来辞轴","《归去来辞》是东晋诗人陶渊明的名作，文中表达淡泊名利，追求圆满自足的田园之乐，向来是文人雅士嚮往的理想境界。此幅隶书用笔劲健，点画平齐规律，或是想要以拙朴有古意的书体，传达千载以前陶诗的意境。",[7,209,23,24,225,86,621,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc996e5f2741d5d0d39ae6800ba3224f7.jpg","52 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英始终敬慎，有古大臣风。”",[7,86,25,178,621,19967,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec3f1718dd5edeb5bbe50c9bac7f687.jpg",[],{"id":76952,"slug":76953,"title":76954,"dynasty":76,"author":76955,"museum":311,"description":76956,"tags":76957,"thumbUrl":76958,"material":2164,"size":2165,"collection":139,"collections":76959,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},241430,"xu-yuan-wen-shou-zha-juan-xu-qian-xue-241430","徐元文手札卷","徐乾学","康熙九年（1670）进士。同年任《明史》编辑部主任，同年任内阁学士，后任武士礼部、佐藤御史、尚书尚书。但因党争被反对党弹劾，同年回国。除了参与《明史》、《大成改天》、《大成一成》的编纂外，他还着有《圣园书》（第36卷）和《读命通书》（第120卷）等书籍。",[7,24,86,25,178,173,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f38e9d42a63d56ccc26f50c2b8e125.jpg",[],{"id":76961,"slug":76962,"title":76963,"dynasty":76,"author":55783,"museum":311,"description":55784,"tags":76964,"thumbUrl":76965,"material":2164,"size":2165,"collection":139,"collections":76966,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},241428,"zhi-shou-shan-zha-juan-yi-bing-shou-241428","致手山札卷",[7,76,86,25,1163,178,621,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cec330bef7a75d234429e4d9d9492.jpg",[],{"id":76968,"slug":76969,"title":76970,"dynasty":76,"author":76971,"museum":311,"description":76972,"tags":76973,"thumbUrl":76974,"material":2164,"size":2165,"collection":139,"collections":76975,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},241427,"wu-jia-zhi-fa-shi-shan-zha-juan-wang-yu-241427","五家致法式善札卷","王豫","王豫(1768—1826)，活动于清代嘉庆、道光年间，字应和，号柳村，又号翠洲农、小辋川主人，镇江人，后移籍江都。丹徒附监生，工于诗，诗风清淡，集名《种竹轩诗钞》。",[7,86,25,178,2570,263,173,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44192270370e7451643c28b97e9e96c.jpg",[],{"id":76977,"slug":76978,"title":76979,"dynasty":99,"author":76980,"museum":311,"description":76981,"tags":76982,"thumbUrl":76983,"material":699,"size":139,"collection":328,"collections":76984,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},241183,"shou-cheng-jia-shu-zha-juan-hou-dong-ceng-241183","守城家书札卷","侯峒曾","侯峒曾（1591年10月1日—1645年8月24日），字豫瞻，号广成，南直隶松江府上海县（今上海市闵行区）人，祖籍苏州府嘉定县（今上海市嘉定区）， [1] 雅好诗文，能书法。\n万历四十六年（1618年）经元 ，天启五年（公元1625年）进士，授南京武选主事。为政有声，刚正不阿。与徐石麒、陈洪谧称“南都三清”，官至顺天府丞，未赴而京师亡。弘光元年闰六月十七日（公元1645年8月8日），剃发令下，嘉定民众起义抗清，其与黄淳耀被推为首领。坚守十余日，至七月四日（8月24日）城破，与二子投叶池殉国。\n南明绍宗赠兵部尚书，谥“文忠”。明监国鲁王赠左都御史，谥“忠烈”。清高宗乾隆四十一年（1776年）赐谥“忠节”。",[7,86,178,25,173,263,24,7330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0b1a3cdc6065bcec6eb4e5c9e1a0d.jpg",[328],{"id":76986,"slug":76987,"title":76988,"dynasty":76,"author":29211,"museum":311,"description":29212,"tags":76989,"thumbUrl":76990,"material":2164,"size":2165,"collection":139,"collections":76991,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},241040,"shu-qiu-xing-shi-juan-fu-shan-241040","书秋兴诗卷",[7,86,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2bc6a8f97007e36f411118f0f5fe66.jpg",[],{"id":76993,"slug":76994,"title":76995,"dynasty":99,"author":58078,"museum":311,"description":76996,"tags":76997,"thumbUrl":76998,"material":2164,"size":2165,"collection":139,"collections":76999,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},241007,"liu-jia-shou-zha-juan-huang-dao-zhou-241007","六家手札卷","黄道周（1585年3月9日—1646年4月20日），汉族，字幼玄，一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。福建漳州府漳浦县（今福建省东山县铜陵镇）人，祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[7,24,25,86,178,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adb9242b3992f887867bc05df2b1e81.jpg",[],{"id":77001,"slug":77002,"title":77003,"dynasty":99,"author":58078,"museum":311,"description":76996,"tags":77004,"thumbUrl":77005,"material":2164,"size":2165,"collection":139,"collections":77006,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},241002,"qi-jia-shou-zha-juan-huang-dao-zhou-241002","七家手札卷",[7,24,25,86,178,2570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d3076cf63fb55b00bce98b4643e16.jpg",[],{"id":77008,"slug":77009,"title":77010,"dynasty":99,"author":278,"museum":311,"description":77011,"tags":77012,"thumbUrl":77013,"material":699,"size":139,"collection":328,"collections":77014,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},240995,"jin-sheng-zha-juan-yi-ming-240995","金声札卷","此札行书隽秀清逸，笔墨简淡萧散，章法疏朗从容。行笔牵丝映带轻盈婉转，笔画粗细合宜，尽显文人书写的随性雅致，不见雕琢之态。\n\n信中叙旧访游，寄寓知己阔别惦念，日常琐语化为纸上温情，裹挟着晚明文人的林下风流。左侧题跋与手札呼应，双璧相映，兼具文献与书法双重价值，尺牍之间藏着晚明交游的文人情愫，尽显一代士人的心迹风神。",[7,939,86,25,178,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da70fc7fb515fa67593fee5648a64c9.jpg",[328],{"id":77016,"slug":77017,"title":77018,"dynasty":277,"author":68994,"museum":311,"description":77019,"tags":77020,"thumbUrl":77021,"material":2164,"size":2165,"collection":139,"collections":77022,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},240993,"zhi-er-xue-xing-zha-juan-song-ling-shen-240993","致儿学行札卷","此作为文人手札长卷，以率意行书铺陈，笔墨朴拙灵动。行笔迅疾却不失法度，字形欹侧错落，墨色枯湿浓淡富于变化。密密麻麻的小字排布紧凑却不显拥塞，带着家信独有的松弛与真切。褪去了刻意的书家姿态，将日常的牵念、叮咛尽数凝于毫端，把私人化的家常絮语与文人底蕴相融，藏着鲜活的日常心绪，质朴间尽显温度，是极具烟火气的文人尺牍典范。",[7,86,25,178,2570,24,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39d6f85c93badcb1ef99db9c578f362.jpg",[],{"id":77024,"slug":77025,"title":74232,"dynasty":99,"author":59780,"museum":311,"description":77026,"tags":77027,"thumbUrl":77028,"material":2164,"size":2165,"collection":139,"collections":77029,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},240992,"shou-zha-juan-chen-xian-zhang-240992","陈献章（1428年11月27日—1500年3月9日），字公甫，别号石斋，人称白沙先生，广州府新会县白沙里（今广东省江门市蓬江区白沙街道）人。明朝杰出的思想家、哲学家、教育家、书法家、诗人、古琴家，岭南地区唯一从祀孔庙的大儒、明朝从祀孔庙的四人之一、心学的奠基者，后世尊为“圣代真儒”、“圣道南宗”、“岭南一人”。\n正统十二年。考中秀才，进入国子监读书。景泰二年，拜江西学者吴与弼为师，成化二年，复游太学入京，得到国子祭酒邢让推荐，出任吏部主事，辞官回乡，聚徒讲学。成化十九年，明宪宗授翰林院检讨，居乡讲学，屡荐不起，研究心学方法。 弘治十三年（1500年），陈献章病逝，终年72岁，谥号“文恭”。\n万历初年，从祀孔庙，著有《白沙子全集》。陈献章提出“学贵知疑”教育理论，强调“提出问题”之于学习与成长的重要意义，逐渐形岭南学派，倡导的白沙心学，打破程朱理学沉闷和僵化的模式，开启明代心学先河，成为宋明理学史上是一个承前启后、转变风气的关键人物，推崇倡导涵养心性、静养“端倪”之说，推动明代儒学实现了由理学向心学的转变，成为儒学发展史上的一个重要转折点。高扬“宇宙在我”的主体自我价值，突出个人在天地万物中的存在意义，对整个明代文人精神的取向产生了深刻影响。",[7,86,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969c38c4929eecb724807e00b0501e04.jpg",[],{"id":77031,"slug":77032,"title":50984,"dynasty":76,"author":66260,"museum":311,"description":77033,"tags":77034,"thumbUrl":77035,"material":2164,"size":2165,"collection":139,"collections":77036,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},240866,"zi-shu-shi-juan-zhu-ang-zhi-240866","朱昂之[清]（一七六四～一八四一年后），历代人物年表碑传综表作（一七五五～？），今从宋元明清书画家年表。字青立，又字津里，江苏武进人。侨居吴中（今江苏苏州）。",[7,23,24,25,178,86,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821d4c66fa28a8207c9ab2a396eb2f3b.jpg",[],{"id":77038,"slug":77039,"title":77040,"dynasty":54,"author":278,"museum":311,"description":77041,"tags":77042,"thumbUrl":77043,"material":2164,"size":2165,"collection":139,"collections":77044,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},240801,"wu-kuan-xie-da-ban-nie-pan-juan-shi-yi-jing-juan-yi-ming-240801","无款写大般涅槃卷十一经卷","此作尽显唐代写经书法的典型气韵，以小楷誊录，通篇排布匀停规整，笔墨沉凝温润。书写中暗随行气融入行书笔意，让规整的经生书摆脱刻板，带着灵动松弛的意趣。纸色古雅泛黄，墨色历久弥醇，字里行间既有写经之时的虔敬端严，又流露唐人书法的秀润风神，是民间写经的上乘佳构，尽显中古佛教传扬背景下，经生书法的成熟造诣，朴静典雅，沉静动人。",[7,10270,86,5152,621,25,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fb8ef41f3300788638af9712671672.jpg",[],{"id":77046,"slug":77047,"title":64576,"dynasty":99,"author":77048,"museum":311,"description":77049,"tags":77050,"thumbUrl":77051,"material":699,"size":139,"collection":328,"collections":77052,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},240708,"shu-shi-juan-chen-tai-lai-240708","陈泰来","陈泰来（1559年－1593年），字上交，一字伯符，浙江嘉兴府平湖县人，民籍，明朝政治人物、诗人",[7,24,86,25,178,2570,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff321b54c20aba1c9ea47792f27eda823.jpg",[328],{"id":77054,"slug":77055,"title":54050,"dynasty":76,"author":77056,"museum":311,"description":77057,"tags":77058,"thumbUrl":77059,"material":699,"size":139,"collection":328,"collections":77060,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},240707,"shi-juan-zhou-shao-xing-240707","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[7,86,25,178,2570,263,3019,18916,9575,30910,3022,2341,226,403,62,7120,2278,734,282,2279,3020,1775,402,406,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[328],{"id":77062,"slug":77063,"title":77064,"dynasty":99,"author":77065,"museum":311,"description":77066,"tags":77067,"thumbUrl":77068,"material":2164,"size":2165,"collection":139,"collections":77069,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":49},240660,"hu-qiu-shi-juan-wang-heng-240660","虎丘诗卷","王衡","王衡（1562年10月6日—1609年3月4日），生于嘉靖四十一年九月九日，卒于万历三十七年正月二十九日。字辰玉，号缑山、别署蘅芜室主人，南直隶苏州府太仓州（今江苏太仓）人。 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。",[7,99,86,178,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cfe419008f91ea8577897a33b167af6.jpg",[],{"id":77071,"slug":77072,"title":46698,"dynasty":99,"author":817,"museum":311,"description":27771,"tags":77073,"thumbUrl":77074,"material":2164,"size":2165,"collection":139,"collections":77075,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":629},240505,"xi-yuan-shi-juan-wen-zheng-ming-240505",[7,209,23,24,25,178,86,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9358505ce43750aa5e202274296573.jpg",[],{"id":77077,"slug":77078,"title":50984,"dynasty":99,"author":77079,"museum":311,"description":77080,"tags":77081,"thumbUrl":77082,"material":2164,"size":2165,"collection":139,"collections":77083,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},240421,"zi-shu-shi-juan-yan-song-240421","严嵩","严嵩（1480年3月3日—1567年），字惟中，号介溪，袁州府分宜介桥村（今江西省分宜县）人。 [16] 明孝宗弘治十八年（1505年）进士，累迁礼部尚书、翰林院学士。嘉靖二十一年（1542年）六十三岁时入阁，加少傅兼太子太师、谨身殿大学士，后改少师、华盖殿大学士，嘉靖二十七年（1548年）诬害夏言，再任内阁首辅，专擅国政近十五年之久。\n严嵩在朝期间，陷害同僚，必置之死地而后快;同时他结党营私，贪赃纳贿，而他的党羽和子孙更是跋扈骄奢，横行朝廷。严嵩的专权乱政，使明王朝的国力衰弱，边疆防御受到严重破坏，人民惨遭蹂躏。晚年因事激怒嘉靖帝而失势，嘉靖四十一年（1562年）勒令致仕，嘉靖四十三年（1564年）严世蕃案发，其恶迹败露后，世宗下诏将他罢职，削籍为民，家产被抄，奸党与家人一一治罪。\n隆庆元年（1567年），87岁的严嵩贫病交加，把持朝政20多年后，在举国一片唾骂声中死去，挤进《明史·奸臣传》。他死的时候，寄食于墓舍，既无棺木下葬，更没有前去吊唁的人。《明史》将严嵩列为明代六大奸臣之一，称其“惟一意媚上，窃权罔利”。",[7,24,25,86,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6321fcc2f8c8d1899a7ec793459c5e1e.jpg",[],{"id":77085,"slug":77086,"title":77087,"dynasty":99,"author":77088,"museum":20,"description":77089,"tags":77090,"thumbUrl":77091,"material":139,"size":139,"collection":328,"collections":77092,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},240393,"gu-feng-ci-gao-zong-ben-240393","孤凤辞","高宗本","天顺七年龙集癸未春三月既望赐甲戌第二甲进士出身文林郎山东道监察御史古雄高宗本书",[7,24,25,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c55ec5722bfe23bcb91d9390201d506.jpg",[328],{"id":77094,"slug":77095,"title":77096,"dynasty":99,"author":77097,"museum":311,"description":77098,"tags":77099,"thumbUrl":77100,"material":2164,"size":2165,"collection":139,"collections":77101,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":49},239981,"wan-jie-ting-ci-juan-xia-yan-239981","晚节亭词卷","夏言","夏言（1482年7月14日－1548年11月1日），字公谨，号桂洲，江西广信府贵溪县（今江西省贵溪市）人 。明朝中期政治家、文学家，赠少师夏鼎的儿子。\n正德十二年（1517年），进士及第，授行人司行人。迁兵科给事中，以正直敢言闻名。明世宗继位后，上疏奏陈先朝弊政，奉命裁汰冗员，清查皇族庄田，迁少詹事兼任翰林学士。推动“大礼议”事件，大获圣宠，累迁武英殿大学士、礼部尚书、太子太傅，加位少师、特进光禄大夫、上柱国。嘉靖十八年（1539年），成为内阁首辅。完备内阁，抑制宦官，整顿吏治，巩固边防，颇有政绩。内心耿直，豪迈强直，逐渐失去宠爱。\n嘉靖二十七年（1548年），支持收复河套地区，受到严嵩诬陷，坐罪处死，时年六十七岁。明穆宗继位，得以平反昭雪，追谥“文愍”。诗文宏整，以词曲擅名，著有《桂洲集》及《南宫奏稿》传世。",[7,209,23,24,25,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249a76b7089dbf0651db22708e272cf2.jpg",[],{"id":77103,"slug":77104,"title":77105,"dynasty":99,"author":7174,"museum":311,"description":46139,"tags":77106,"thumbUrl":77107,"material":139,"size":139,"collection":328,"collections":77108,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},239911,"shi-wai-zhuan-juan-zhu-yun-ming-239911","诗外传卷",[7,86,178,2570,25,173,263,5153,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1ff69ebcbaddc6016658cab5a6faf6.jpg",[328],{"id":77110,"slug":77111,"title":77112,"dynasty":99,"author":74266,"museum":311,"description":74267,"tags":77113,"thumbUrl":77114,"material":139,"size":139,"collection":328,"collections":77115,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},239888,"huang-fu-jiao-yi-juan-huang-cong-239888","黄福教仪卷",[7,24,25,86,263,243,178,5152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3672b4f04e0e545551c38a03ad75d415.jpg",[328],{"id":77117,"slug":77118,"title":58934,"dynasty":99,"author":66585,"museum":311,"description":77119,"tags":77120,"thumbUrl":77121,"material":139,"size":139,"collection":139,"collections":77122,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},239800,"shi-han-juan-yang-yi-qing-239800","此卷狂草纵横跌宕，将笔墨意气挥洒淋漓。中锋使转提按兼施，线条枯湿浓淡交织，飞白牵丝映带字间，裹锋绞锋尽显老辣苍劲。字势欹侧错落，行气贯通如江河奔涌，整卷一气呵成毫无滞碍，点画狼藉却暗藏法度。既有颠张醉素的豪放恣肆，又自具沉郁雄健的风骨。洒金笺底衬得墨色愈见厚重，朱文小印点缀其间，于狂放中见雅致。通篇诗墨相融，将文人磊落襟怀宣泄纸上，尽显老笔纷披的磅礴气势，是尚奇书风里极具个性的佳作。",[7,86,24,25,178,2570,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc188c62d53074d8bea00508dcafdf0e7.jpg",[],{"id":77124,"slug":77125,"title":77126,"dynasty":99,"author":278,"museum":311,"description":77127,"tags":77128,"thumbUrl":77129,"material":139,"size":139,"collection":139,"collections":77130,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},239661,"zhang-yu-huai-you-shi-juan-yi-ming-239661","张羽怀友诗卷","此卷笔墨萧散清逸，以行书铺陈怀友心绪，点画牵丝映带间尽显明代文人的清雅风神。笔意随性舒展，将念友的缱绻深情藏于流动线条之中。\n\n卷上鉴藏钤印琳琅错落，历代题跋排布有致，虽经岁月磨洗，有蠹蚀墨损晕开斑驳痕迹，却恰似时光镌刻的印记，晕染出古旧温润的质感。它将私人怀愫凝为跨越时空的笔墨遗存，裹挟着古纸沉香，静静诉说昔年文人间的知己情谊，尽显尺牍诗卷的隽永韵致。",[7,23,24,25,86,1218,173,178,263,29,34,114,32058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7840233708350a9a9d0071500e0ed22.jpg",[],{"id":77132,"slug":77133,"title":77134,"dynasty":99,"author":7174,"museum":20,"description":77135,"tags":77136,"thumbUrl":77137,"material":139,"size":139,"collection":328,"collections":77138,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},239576,"shu-yan-xi-ting-deng-si-ji-ti-zhu-yun-ming-239576","书燕喜亭等四记题","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 [1] 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[7,86,24,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263f9a302ecb8222f9c62a850d907960.jpg",[328],{"id":77140,"slug":77141,"title":77142,"dynasty":99,"author":66705,"museum":311,"description":77143,"tags":77144,"thumbUrl":77145,"material":139,"size":139,"collection":139,"collections":77146,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},235241,"shui-xian-juan-wang-gu-xiang-235241","水仙卷","此卷以水墨写意水仙，笔致劲挺秀雅，兰叶交错舒展、顾盼自然，以极简笔墨勾勒出水仙清逸出尘之态，留白空灵尽显幽冷澹远的君子气韵。\n\n行书赋文笔势舒展清健，将水仙孤高清介的品性寄于辞章，一众题跋亦各见风神，诗书画合璧，尽显明代文人寄情花木、托物言志的雅趣，整卷清雅隽秀，是文人情致与笔墨功力的绝佳融合。",[7,23,24,25,173,27,83,405,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff554019383163d38f70a85a82bed3490.jpg",[],{"id":77148,"slug":77149,"title":77150,"dynasty":76,"author":7940,"museum":311,"description":28240,"tags":77151,"thumbUrl":77152,"material":139,"size":139,"collection":139,"collections":77153,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},234261,"jiang-gan-qi-shu-tu-juan-wang-hui-234261","江干七树图卷",[7,23,24,25,173,29,177,178,263,384,1365,176,6868,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0508feeed1b0e9cd3ecabf7ad66ce29.jpg",[],{"id":77155,"slug":77156,"title":77157,"dynasty":76,"author":7940,"museum":20,"description":77158,"tags":77159,"thumbUrl":77160,"material":1271,"size":139,"collection":139,"collections":77161,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},234236,"qiang-jiao-zhong-mei-tu-juan-wang-hui-234236","墙角种梅图卷","图上自题七言诗一首并识：“子鹤种梅墙角，庶几幽人韵事。余为补图，并题一绝，博诸君春雪之和。”该图卷上另有杨晋、恽寿平、王武等二十余家题诗、词，通过他们的题跋可知此图是王翚应杨晋的请求，绘杨晋在新居墙角处移植古梅一本之事。王翚以册页的形式为杨晋画了二幅图。第一幅图绘远山连绵、平波静水以及枝干清癯如铁的梅树。第二幅图绘修篁摇翠影、高台筑草亭以及高士临窗赏梅的情景。二幅图繁简不一，但是均以细润娟秀的笔墨真实地刻画出杨晋生活的居所环境，反映了其以竹、梅为邻的生活情趣。此图卷也印证了王翚与杨晋之间深厚的师生情谊。王翚被邀请画友人居所的写生之作还有许多，如他34岁时应鹤客先生张文钺之邀，绘其庭院里的仙鹤，自言“有鹤来至庭际”以“命余作图以纪其事”",[7,209,23,24,25,173,177,178,86,263,402,29,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914023115b1962e8a0c6180d27212af9.jpg",[],{"id":77163,"slug":77164,"title":77165,"dynasty":99,"author":77166,"museum":311,"description":77167,"tags":77168,"thumbUrl":77169,"material":139,"size":139,"collection":139,"collections":77170,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},232825,"xing-shu-li-zhou-wen-zhen-heng-232825","行书立轴","文震亨","文震亨（1585年－1645年），字启美，直隶苏州（今江苏苏州市）人，祖籍湖南衡阳，明末画家。",[7,86,178,225,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad8949b0a00384ffffdca51843456bce.jpg",[],{"id":77172,"slug":77173,"title":77174,"dynasty":277,"author":77175,"museum":311,"description":77176,"tags":77177,"thumbUrl":77178,"material":2164,"size":2165,"collection":139,"collections":77179,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},231839,"fei-niao-chuan-gu-ge-tu-zhou-gang-ben-xuan-jiu-231839","飞鸟川古歌图轴","冈本宣就","1575-1657 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双纸-2","此作兼具叙事性与文人意趣，左侧行书题字舒展清雅，朱印古拙端方，文气沉静。右侧绘祭典出行渡河的鲜活图景，设色柔雅清淡，线条细腻写实。渡头牛车浮于水面，驭牛者神色专注，车中人物姿态安然，桥上、船间行人衣着各异，神态鲜活松弛，将祭典沿途的市井烟火铺陈开来。\n\n画作以平实笔致描摹民俗日常，未作浓墨重彩渲染，却细致捕捉了旧时祭典出行的悠然氛围，还原出古早祭典的鲜活世情，带着和风古画独有的温婉写实质感，于静卷之中重现往昔祭典的鲜活意趣，尽显对世俗日常的细致体察。",[7,23,25,27,28,86,263,106,151,154,13000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F791f054a22b874944cc9cc95a1c08b15.jpg",[],{"id":77208,"slug":77209,"title":77210,"dynasty":277,"author":17908,"museum":311,"description":77211,"tags":77212,"thumbUrl":77213,"material":2164,"size":2165,"collection":139,"collections":77214,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},231780,"xin-gui-shan-yuan-qi-hui-juan-2-niao-yu-seng-zheng-jue-you-231780","信贵山缘起绘卷-2","觉猷（かくゆう、1053年－1140年10月27日）是平安时代后期的天台僧。一般称作鸟羽僧正，不仅是担任日本佛教界重职的高僧，也精通绘画，被认为是‘鸟兽人物戏画’（鸟兽戏画）、‘放屁合战’等画作的作者，也被视为漫画的始祖。",[7,25,24,243,106,244,27,86,2570,29,107,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5713995c34e56efad1d53f5f3d5aa01.jpg",[],{"id":77216,"slug":77217,"title":77218,"dynasty":277,"author":278,"museum":311,"description":77219,"tags":77220,"thumbUrl":77221,"material":2164,"size":2165,"collection":139,"collections":77222,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},231777,"fu-fu-cao-zi-hui-juan-wei-shan-zheng-zhen-mo-yi-ming-231777","福富草子绘卷 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江户时代中期的画家。",[7,23,29,104,173,177,27,107,108,109,34,176,37,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2459b6003b2266b79592c88255f0a1c.jpg",[],{"id":77258,"slug":77259,"title":77260,"dynasty":99,"author":77261,"museum":311,"description":77262,"tags":77263,"thumbUrl":77264,"material":2164,"size":2165,"collection":139,"collections":77265,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},231716,"ping-an-shi-dai-guan-wu-tu-ping-feng-biao-wu-zong-da-231716","平安时代 关屋图屏风","俵屋宗达","俵屋宗達（Tawaraya 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画卷","男衾三郎","此作是典型的和歌物语绘卷，叙事与绘写相融共生。左侧深宅雅室间，贵族闲坐叙谈，格子棂门与廊阶形制考究，细腻复刻古日本宅邸风貌，尽显平安贵族的优渥日常。\n\n中段平假名题跋铺陈故事脉络，与画面呼应成趣。右侧郊野水岸梅林绽花，远林覆绿，旅人策马于汀岸，将视野从深宅拓向天地。\n\n整体设色浅淡清隽，柔婉细线勾勒人物景致，晕染出古雅侘寂的和风意趣，让文字与丹青交织，缓缓铺展开一卷流动的古典叙事，藏着旧时光里的幽玄情致。",[7,25,27,106,69116,77273,3875,150,29601,77274,86,77275,25758,77276,5534],"梅林","侘寂","绘卷物","叙事画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58bbf6f7a1584b88c6311ebab6647383.jpg",[],{"id":77280,"slug":77281,"title":77282,"dynasty":277,"author":278,"museum":311,"description":77283,"tags":77284,"thumbUrl":77285,"material":2164,"size":2165,"collection":139,"collections":77286,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":49},231683,"zhi-xue-tu-yi-ming-231683","雉雪图","此作以金底晕开冬日冷寂氛围，两只雉鸟静立积雪坡石。翎毛刻画细致入微，根根纤毫毕现，雌鸟憨态圆柔，覆羽素朴匀整；雄鸟红首华羽，层次繁丽分明，长尾舒展自带遒张力道。坡石以淡墨晕染，留白为雪，虚实相生间晕开雪后清寒萧索之意。\n\n工写相融之下，细腻处尽显禽鸟鲜活生趣，写意处烘托荒冬日色，无繁复布景，以极简构图凸显二鸟相依的静谧温情，将雪野清寂与脉脉生机揉为一处。岁月留痕的斑驳肌理，更添古雅沉静的悠悠意蕴。",[7,23,27,28,83,29742,1775,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba7ab4c01d01e3598c5001406f48d9d.jpg",[],{"id":77288,"slug":77289,"title":77290,"dynasty":277,"author":278,"museum":311,"description":77291,"tags":77292,"thumbUrl":77293,"material":2164,"size":2165,"collection":139,"collections":77294,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},231675,"qi-lv-tu-li-zhou-yi-ming-231675","骑驴图立轴","此作用笔极简写意，以淡墨勾勒骑驴老僧与毛驴。寥寥数笔便捕捉住驴蹄轻抬的灵动姿态，老僧佝偻安坐，宽袍以大片墨色晕染，神态悠然澹定，尽显世外高士物我两忘的自在。\n画面留白疏朗，搭配题字朱印，禅意悠悠，以极简笔墨传递出萧散超脱的山野意趣，笔简却形神兼备，将任情自适的林下风流尽显无余，尽显东方水墨空灵淡远的独特韵味。",[7,23,24,225,173,244,106,6926,263,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa866662591a5e19fb80238175ea9a1ed.jpg",[],{"id":77296,"slug":77297,"title":77298,"dynasty":277,"author":77299,"museum":311,"description":77300,"tags":77301,"thumbUrl":77302,"material":2164,"size":2165,"collection":139,"collections":77303,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},231673,"shou-ye-tan-you-xiang-tao-tian-liu-rong-zhi-231673","狩野探幽像","桃田柳荣之","这幅肖像以极简笔触，刻画出老者执笔沉吟的瞬间。枯瘦却棱角分明的面庞上，沉静锐利的眼神带着思索的幽光，松弛的轮廓里藏着饱经岁月沉淀的从容气度。淡赭晕染出松弛的肤色，衣物以留白衬墨色领部，冷暖对比间尽显素雅克制。凝练的线条勾勒出垂垂老矣却依旧矍铄的身形，将执笔者凝神构思的神态描摹入微，不见繁复布景，仅以肖像特写，把文人老僧的沉静文心定格在纸间，侘寂的静穆氛围里，尽显写实肖像的传神功底，让观者仿佛能窥见画中人此刻流转的思绪。",[7,23,24,225,27,173,28,106,4420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f3ca1a2a676b3bf641e3a284894c69.jpg",[],{"id":77305,"slug":77306,"title":77307,"dynasty":277,"author":77308,"museum":311,"description":77309,"tags":77310,"thumbUrl":77311,"material":2164,"size":2165,"collection":139,"collections":77312,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},231670,"shi-he-mi-an-xiang-du-bian-hua-shan-231670","市河米庵像","渡边华山","渡边华山（日语：渡辺崋山；1793年—1841年）原名渡边定静，字子安，一字伯登，通称渡边登，号华山，斋号有寓绘堂、全乐堂、金暾居、昨非居士、随安居士。",[7,23,24,106,173,27,225,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad6bd411c30051a5f97850fcda5c0d4.jpg",[],{"id":77314,"slug":77315,"title":77316,"dynasty":277,"author":19249,"museum":311,"description":62592,"tags":77317,"thumbUrl":77318,"material":2164,"size":2165,"collection":139,"collections":77319,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":49},231624,"shi-ting-shi-dai-shan-shui-tu-zhou-shou-ye-yuan-xin-231624","室町时代 山水图轴",[7,23,24,225,173,29,176,34,557,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd95d2140079f970ee5dd318cc6ff750.jpg",[],{"id":77321,"slug":77322,"title":77323,"dynasty":277,"author":278,"museum":311,"description":77324,"tags":77325,"thumbUrl":77328,"material":2164,"size":2165,"collection":139,"collections":77329,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},231615,"jiang-hu-shi-qi-zhang-xiao-zhi-zhan-tu-juan-yi-ming-231615","江户时期 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胜白 花卉卷","此卷以水墨绘就，兼具工致与写意之趣。左侧湖石隐于幽草间，枯笔皴擦勾勒石体质感，苍劲古拙，野意盎然。右侧花枝错落舒展，枝干以清劲笔线写出，力道暗藏。叶片以淡墨晕染，浓墨点醒叶脉，层次分明，绣球花以白描圈点，空灵雅致，旁侧小花晕勾结合，疏密相生。全作用墨清和，虚实相映，将湖石的冷寂幽趣与花枝的柔妍盛放相融，尽显文人水墨的清雅淡远，笔底含韵，墨色空灵，尽显古典花鸟的清逸格调。",[7,23,24,25,173,244,84,229,926,607,263,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8339dee55b3aa72625aa9c24a2f9a3b.jpg",[],{"id":77353,"slug":77354,"title":77355,"dynasty":277,"author":278,"museum":311,"description":77356,"tags":77357,"thumbUrl":77358,"material":2164,"size":2165,"collection":139,"collections":77359,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},230517,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-yi-ming-230517","仿古人物山水粉本(狩野家图卷)","此作淡彩晕染烟水空蒙，水榭之上，两位文士凭栏闲坐，一俯一仰，伴松梅清景清谈遣兴。设色调和柔雅，笔致温婉工细，将文人林下雅游的散淡心境融绘其中。画面留白衬以题诗，虚实相衬，晕开空灵禅意，尽显清雅的和风汉画意趣，把东方古典的澹远闲静藏在水墨淡彩之间，观之如见幽居雅集的悠然旧景。",[7,23,25,27,2497,28,104,29,106,107,1365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b8ff428c4e9035f635b3ad850e6cd7.jpg",[],{"id":77361,"slug":77362,"title":77363,"dynasty":76,"author":278,"museum":311,"description":77364,"tags":77365,"thumbUrl":77366,"material":2164,"size":2165,"collection":139,"collections":77367,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":49},230342,"cao-tang-tu-yi-ming-230342","草堂图","此作以淡墨晕染出幽寂山居之景，草堂临水而设，主人凭榻安坐，尽显林下幽居的松弛散淡。山石以简笔皴擦，淡墨晕渍出层叠肌理，林木或以细笔点叶、或以浓墨醒梢，清润苍郁。\n\n画面以草堂为中心，环拥松石溪谷，高墙小径掩映于林麓间，将幽闭的山居氛围铺陈开来。整幅笔墨简净萧疏，不事繁饰，以极简排布勾勒出文人理想中的林泉高致，把出世幽栖的隐逸意趣藏于尺幅之间，尽显静穆淡远的文人山水意境。",[7,23,173,177,263,29,114,34,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc825ed05822b45e25334949d452cf0.jpg",[],{"id":77369,"slug":77370,"title":77371,"dynasty":76,"author":278,"museum":311,"description":77372,"tags":77373,"thumbUrl":77374,"material":139,"size":139,"collection":139,"collections":77375,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},230319,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-san-a-ge-yin-xiang-yi-ming-230319","历代帝王贵妃大臣朝服像(十三阿哥胤祥)","此作以月牙取景框圈定人物，雅致别致，将视觉焦点全然落于主人公身上。画师笔底写实传神，精准勾勒出人物端正沉静的面庞，眉宇间自带宗室贵胄的肃穆内敛。\n\n朝服绘制极尽工细，宝蓝底料之上，明黄龙纹矫健灵动，金线晕染出龙身肌理，配色沉稳华贵，云纹补缀其间层次分明。项下朝珠颗颗饱满剔透，垂配严整，细节处见匠心。整体色调古雅庄重，既恪守宫廷肖像的纪实规制，又以细腻笔触尽显人物仪态风骨，是兼具史料价值与艺术美感的肖像佳制。",[7,23,24,225,27,106,340,341,315,28,46275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb732ac61aa34b131692326af1983eb34.jpg",[],{"id":77377,"slug":77378,"title":77379,"dynasty":76,"author":278,"museum":311,"description":77380,"tags":77381,"thumbUrl":77382,"material":139,"size":139,"collection":139,"collections":77383,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},230316,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-guan-lao-fu-ren-yi-ming-230316","历代帝王贵妃大臣朝服像(关老夫人)","此作为工笔设色肖像，夫人安坐宝椅，面容温婉端凝，神态沉静从容。身着织绣满饰团龙纹样的石青朝服，江崖海水纹环缀下摆，金线勾边晕染细腻，配色沉敛华贵，朝冠珠翠、朝珠佩饰皆描摹入微，尽显诰命夫人的尊崇仪范。脚下地砖纹饰繁丽规整，与宝椅绣纹呼应，烘托出肃穆雅致的厅堂氛围。\n画作恪守容像纪实传统，线条匀细流畅，设色厚重雅致，精准还原清代命妇朝服礼制，将清代上层女性雍容端方的仪态，与服饰典制的庄重威仪融合无间，是兼具纪实价值与工笔意趣的清代肖像佳作。",[7,23,225,28,27,106,63,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3027160ba026cf408c2e25b7d52313e1.jpg",[],{"id":77385,"slug":77386,"title":77387,"dynasty":76,"author":278,"museum":311,"description":77388,"tags":77389,"thumbUrl":77390,"material":139,"size":139,"collection":139,"collections":77391,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},230313,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yu-cheng-long-yi-ming-230313","历代帝王贵妃大臣朝服像(于成龙)","此作工笔精妙写实，将主人公刻画得形神兼备。画中老者银髯垂胸，神色沉稳威严，目光平和却藏干练气度，尽显廉吏风骨。朝服细节一丝不苟，石青底色之上，一品文官的飞鹤补子针脚细密灵动，东珠朝珠颗颗匀净，礼制严谨考究。虎纹座椅霸气厚重，衬出其身后功绩煊赫。上方题字详述生平功业，与画像呼应，尽显其显赫地位。设色调和古雅，以沉稳蓝棕铺陈基调，尽显清代肖像画的工整端庄，将主人公刚正清廉的为官气度凝于绢素之中，堪称清代纪实肖像画的精良之作。",[7,209,23,27,28,106,63,8436,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd738bf41d5d149988729b3238eb483.jpg",[],{"id":77393,"slug":77394,"title":77395,"dynasty":76,"author":29211,"museum":311,"description":29212,"tags":77396,"thumbUrl":77397,"material":2164,"size":2165,"collection":139,"collections":77398,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},230174,"za-ce-zhen-fu-shan-230174","杂册(帧)",[7,24,86,2570,81,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf4338ff030ab982ed73db4aece7411.jpg",[],{"id":77400,"slug":77401,"title":77402,"dynasty":99,"author":817,"museum":311,"description":77403,"tags":77404,"thumbUrl":77405,"material":139,"size":139,"collection":139,"collections":77406,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},228883,"qi-lv-zi-chen-chao-xia-shi-ling-ben-wen-zheng-ming-228883","七律紫宸朝下诗（另本）","此作用笔苍秀温润，牵丝映带自然圆融，整幅立轴纵势舒展，字间错落顾盼生姿，行气贯通如一。笔画提按顿挫富于变化，粗细和谐有度，既有赵氏行书的婉和韵致，又自出机杼，尽显晚年笔法愈见醇熟的风貌。将应制诗文的端方庄重，与行书的飘逸灵动感巧妙融合，笔墨间饱含沉稳雅致的庙堂气象，尽显吴门书派儒雅隽秀的风华底蕴，是极具代表性的行书佳构。",[7,24,86,178,225,173,263,939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f267cb17a684e1bfaab1fed6881b90.jpg",[],{"id":77408,"slug":77409,"title":77410,"dynasty":99,"author":278,"museum":311,"description":77411,"tags":77412,"thumbUrl":77413,"material":139,"size":139,"collection":139,"collections":77414,"showCount":1104,"zanCount":48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赵建遂及夫人董氏王氏合葬墓志. 正书原刻. 易县, 唐大中9年[855]2月17日葬. 拓片墨纸尺寸: 44.5 x 44厘米. 淸末拓本.",[7,10270,620,86,621,5405,25111,5406,32058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb22980719d1f6199f3f34ca051e586a1.jpg",[],{"id":77515,"slug":77516,"title":77517,"dynasty":76,"author":1215,"museum":311,"description":77518,"tags":77519,"thumbUrl":77520,"material":139,"size":139,"collection":139,"collections":77521,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},224421,"shu-hua-shi-liu-kai-7-wang-shi-min-224421","书画十六开-7","此作用笔纵逸苍劲，起收提按皆得法度，牵丝映带间尽显流转灵动之美。字形欹正相生，敛放随心，错落排布间气脉贯通，通篇带着萧散疏朗的韵致。\n\n笔墨晕染出诗文里的春日烟霞，将随行宸游的悠然快意融于点画之中，文意与笔意相融相合，尽显雅逸襟怀。墨色浓淡相宜，枯湿互见，既有帖学的秀雅灵动，又暗含朴拙筋骨，随性自然不失规整，尽显行书创作的精妙意趣。",[7,23,24,86,81,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56ddaa4ebbddba87118d6e59ee08218.jpg",[],{"id":77523,"slug":77524,"title":77525,"dynasty":76,"author":1215,"museum":311,"description":77526,"tags":77527,"thumbUrl":77528,"material":139,"size":139,"collection":139,"collections":77529,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":255},224420,"shu-hua-shi-liu-kai-6-wang-shi-min-224420","书画十六开-6","此作以没骨兼工带写绘就仲夏小景，淡墨轻勾萱草茎叶，敷色清妍温雅。萱花盛放与残颓相济，尽显芳华将歇的柔婉之态。草间粉蝶轻栖振翅，大蛱蝶翩跹而来，翅脉纤毫毕现，灵动之姿跃然纸上，将虫蝶的鲜活意态定格于纸面。赭色底纸晕染出古雅氛围，题字娟秀、印文朱红，融诗书画印为一炉。整体清逸静雅，将幽隅小景绘得生机盎然，兼具写生之真与文人隽雅意趣，笔底尽是闲淡天真的幽居雅趣。",[7,23,24,81,27,28,83,512,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555ea6c7ce84246a6a8bd5688afe0ae9.jpg",[],{"id":77531,"slug":77532,"title":77533,"dynasty":76,"author":1215,"museum":311,"description":77534,"tags":77535,"thumbUrl":77536,"material":139,"size":139,"collection":139,"collections":77537,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":255},224413,"shu-hua-shi-liu-kai-14-wang-shi-min-224413","书画十六开-14","此作为行书佳作，用笔灵动潇洒，起收转合间尽显遒婉相济的笔力。字形欹正错落，章法疏朗开阔，通篇行气连贯自然。笔墨枯润相映，牵丝映带妥帖雅致，将诗句中山林幽寂的意境融于笔端。\n\n书者以笔为心，把古岑夜月的清隽诗意落于楮间，点画粗细富有节律，行笔舒展从容，浸透着沉静淡远的文人襟怀。诗韵与书风浑然相融，尽显古典雅致的笔墨风神，观之如临空山月夜，幽意自生。",[7,24,81,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae010883f1840289b539ae976516e3.jpg",[],{"id":77539,"slug":77540,"title":77541,"dynasty":76,"author":67233,"museum":311,"description":77542,"tags":77543,"thumbUrl":77544,"material":139,"size":139,"collection":139,"collections":77545,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},224337,"tao-li-yuan-xu-zhou-shen-quan-224337","桃李园序轴","此作为典型帖学行书，用笔舒展灵动，点画温润圆融。结体端雅又不失飘逸意趣，章法疏朗匀净，字距行距错落合宜，整体气息清萧隽雅。\n\n书录《春夜宴桃李园序》，原文旷达快意随笔墨流转尽致流露，笔势带着晋唐行书的从容萧散韵味，既有馆阁体的端稳规整，亦不失文人书法的秀逸风神，将宴饮雅集的清旷之怀与笔墨雅趣相融，尽显书家深厚功底，是清代行书佳作。",[7,23,24,86,225,178,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F200702700e66058635c63f56eafe3b5f.jpg",[],{"id":77547,"slug":77548,"title":77549,"dynasty":76,"author":1929,"museum":311,"description":77550,"tags":77551,"thumbUrl":77552,"material":139,"size":139,"collection":139,"collections":77553,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},224305,"hua-hui-shi-er-kai-6-li-shan-224305","花卉十二开6","此作用笔放逸洒脱，左侧绘折枝秋葵，嫩黄花瓣以没骨晕染，柔润饱满，将秋花凝露绽放之态尽显。苍劲墨笔写就老干，间缀待放花苞，野趣横生。叶片以泼墨写意，浓淡干湿交叠，尽显舒展灵动，水墨氤氲中带着萧散疏朗。\n\n右侧题诗与画作呼应，书画交融，将秋花凌霜仍娇妍的风骨托出。脱出院体画拘囿，以率性笔触直抒胸臆，将文人疏旷情怀寄寓折枝间，笔底既有写生鲜活，更具写意文心，寥寥数笔便勾勒出秋日花卉的清刚之美与幽淡情致，尽显文人写意花鸟的精妙意趣。",[7,23,24,81,173,27,83,136,759,400,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c2c788cbf1566fbd32216d4e4581d5.jpg",[],{"id":77555,"slug":77556,"title":77557,"dynasty":76,"author":1929,"museum":311,"description":77558,"tags":77559,"thumbUrl":77560,"material":139,"size":139,"collection":139,"collections":77561,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},224304,"hua-hui-shi-er-kai-5-li-shan-224304","花卉十二开5","此作以淡逸之笔绘秋花插于石盆，花枝错落舒展，紫、粉、黄三色菊瓣柔润鲜活，叶片带着雨霁后的清润绿意，笔致写意却不失花姿娇妍。墨色勾勒的盆石朴拙苍劲，与花枝的秀雅相映成趣。右侧题字笔势俊朗，与画面融为一体，尽显文人意趣，将秋花傲霜清寂的神韵尽显，似能嗅见雨后秋芳的淡香，清恬雅致的文人逸趣溢满纸面。",[7,23,24,81,27,83,407,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f779b644fd4b30b18c9bcb45d3724f8.jpg",[],{"id":77563,"slug":77564,"title":77565,"dynasty":76,"author":1929,"museum":311,"description":77566,"tags":77567,"thumbUrl":77568,"material":139,"size":139,"collection":139,"collections":77569,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},224301,"hua-hui-shi-er-kai-2-li-shan-224301","花卉十二开2","这幅画以写意笔墨绘就石畔幽花野卉，水墨晕染的湖石朴拙苍劲，淡紫二月兰柔婉舒展，花瓣晕染清透雅致，叶片敷色明润鲜活，细草瘦劲挺秀。笔墨刚柔相济，写意间不失花木娇柔之态，寥寥数笔便将林下野逸生机尽显。题诗与画意相映成趣，诗书画印融为一体，尽显文人写意画的雅致意趣，笔情墨趣间饱含悠然林下的澹然情怀，尽显随性洒脱却不失细腻的创作意韵。",[7,23,24,81,27,173,400,84,229,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d201bc5fee7ea3e50e27c60d4d7c93.jpg",[],{"id":77571,"slug":77572,"title":77573,"dynasty":76,"author":1929,"museum":311,"description":77574,"tags":77575,"thumbUrl":77576,"material":139,"size":139,"collection":139,"collections":77577,"showCount":1104,"zanCount":48,"manualWeight":48,"mainColor":94},224300,"hua-hui-shi-er-kai-12-li-shan-224300","花卉十二开12","此作折枝秋菊错落生姿，紫、粉、白菊次第绽放，没骨绘就的花瓣薄润鲜活，叶片舒展带着清润生机，笔墨放逸却不失秀润意趣，将秋菊清隽之态尽显。\n\n右侧行书题诗笔致率意洒脱，诗书与花木相映成趣。诗句将晚晴霞色附于花枝，让娇花似染落日余晖，把花木风神与文思诗意相融，尽显文人画以物寄情的意趣。画面雅洁灵动，笔情墨趣间，尽是悠然自得的文人情致。",[7,23,24,81,27,84,607,6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明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。 顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[7,86,178,2570,173,25,263,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23c692a81cc7fc65faefffc7480ede.jpg",[],{"id":80212,"slug":80213,"title":80214,"dynasty":99,"author":5076,"museum":311,"description":80215,"tags":80216,"thumbUrl":80217,"material":699,"size":139,"collection":328,"collections":80218,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240996,"zhi-si-weng-zha-juan-chen-ji-ru-240996","致思翁札卷","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 [1] 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。\n著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[7,178,86,25,173,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa112671d44d0758619edfd1200d9f2ed.jpg",[328],{"id":80220,"slug":80221,"title":80222,"dynasty":99,"author":278,"museum":311,"description":80223,"tags":80224,"thumbUrl":80225,"material":2164,"size":2165,"collection":139,"collections":80226,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":49},240833,"wang-duo-kai-shi-juan-yi-ming-240833","王铎楷诗卷","此作用笔重拙老辣，以行楷间杂写就，点画朴厚斑驳，墨色枯浓变幻自然。章法上疏行距、密字距，欹正相生，通篇气势连贯奔腾，带着晚明尚奇重势的典型书风特质。\n\n笔墨随诗文跌宕，激昂处笔力千钧，沉郁时墨色滞涩，将古风长辞的豪逸意境，与书法的雄肆气势融为一体。纸面岁月斑驳，更衬笔墨间饱藏的勃郁意气，尽显文人情愫的郁结不平，是一件极具力量感的行书佳作。",[7,86,621,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475aa497347a420f79d425748ffe329d.jpg",[],{"id":80228,"slug":80229,"title":54050,"dynasty":76,"author":80230,"museum":311,"description":80231,"tags":80232,"thumbUrl":80233,"material":26709,"size":80234,"collection":328,"collections":80235,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240711,"shi-juan-wang-yong-nian-240711","王永年","此卷草书如长河奔涌，行气贯通连绵，字势跌宕奇崛，通篇顾盼生姿。行笔中锋侧锋互用，提按顿挫间笔力苍劲灵动，线条枯湿浓淡交织，时而细韧如游丝，时而厚重如坠石，尽显狂草肆意放逸之态。疏密开合排布精妙，牵丝映带一气呵成，将胸臆间疏狂意气化为纸上龙蛇。墨色燥润相生，虚实相映，尽显文人放旷疏野之姿，诗书意境与笔墨意趣相融尽显抒情草书的动人魅力。",[7,24,86,25,178,173,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b06d0de3ab7ed592f8222b994c09d.jpg","27.5×197cm",[328],{"id":80237,"slug":80238,"title":54050,"dynasty":76,"author":62065,"museum":20,"description":80239,"tags":80240,"thumbUrl":80242,"material":69828,"size":80243,"collection":328,"collections":80244,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240703,"shi-juan-cha-ji-zuo-240703","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[7,86,25,178,173,263,57117,80241,30372,3020,5048,62,18916,9575,384,370,2278,13000,109,3620,285,1422,175,266,174,29,402,406,226,407],"芳草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","纵450厘米，横33.3厘米",[328],{"id":80246,"slug":80247,"title":80248,"dynasty":76,"author":57998,"museum":311,"description":80249,"tags":80250,"thumbUrl":80251,"material":2164,"size":2165,"collection":139,"collections":80252,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240669,"zi-shu-shi-ci-juan-wang-shi-zhen-240669","自书诗词卷","王士祯（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字贻上，号阮亭，又号渔洋山人，世称王渔洋。山东新城（今山东桓台县）人。清初诗人、文学家、诗词理论家。\n王士祯为清顺治十五年（1658年）进士，康熙四十三年（1704年）官至刑部尚书，颇有政声。谥文简。\n王士祯在实践“神韵说”，取得卓著诗文成果的同时，还能突破正统文坛和文人偏见，重视和高度评价小说、戏曲、民歌等通俗文学、文体。他的主要成就在诗文创作与理论方面，但在小说、戏曲、民歌、书画、藏书、史论等方面所取得的成就亦不容忽视。",[7,24,25,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e664ef86a8c210524f44c4d0ce839c.jpg",[],{"id":80254,"slug":80255,"title":80256,"dynasty":76,"author":15807,"museum":311,"description":15808,"tags":80257,"thumbUrl":80258,"material":2164,"size":2165,"collection":139,"collections":80259,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240663,"lin-zhao-shu-juan-ai-xin-jue-luo-yong-xing-240663","临赵书卷",[7,24,86,25,178,105,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ddc8641e8f71c5a7738004108b5b82c.jpg",[],{"id":80261,"slug":80262,"title":54050,"dynasty":99,"author":80263,"museum":311,"description":80264,"tags":80265,"thumbUrl":80266,"material":2164,"size":2165,"collection":139,"collections":80267,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":49},240629,"shi-juan-wu-wei-yi-240629","吴惟一","此作以草书挥就，整卷行气贯通，字势顾盼牵丝萦绕，尽得草书抒情之妙。笔墨枯湿浓淡交叠变幻，提按顿挫间带着肆意放达的意气，线条飞动缠绕却不失章法，字字相衔、行行呼应，如行云流水般舒卷自如。\n\n既有狂草的颠逸遗韵，又自出机杼，将诗中的心绪藏入挥毫的起落之中。通篇带着疏朗萧散的古意，把文人的疏放襟怀尽数铺展在卷上，笔墨节奏随着心绪起伏，观之如随作者共赴诗中情境，尽览挥毫时的酣畅快意，尽显明代草书抒情写意的独特风神。",[7,86,25,178,173,3019,18916,2278,5048,734,282,174,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc16988a655910f7fdeeb3c330cd9c.jpg",[],{"id":80269,"slug":80270,"title":80271,"dynasty":76,"author":80272,"museum":311,"description":80273,"tags":80274,"thumbUrl":80275,"material":699,"size":139,"collection":328,"collections":80276,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240475,"shi-gao-juan-wang-ge-240475","诗稿卷","汪舸","此卷集信札诗稿为一体，形制错落参差，笺纸色泽各异，古意氤氲。行书笔墨苍朴率真，线条随文思起伏，粗细枯润变幻自如，尽显随性疏朗的文人意趣。诗稿排布疏密随心，朱印错落点缀，提亮古雅纸面。手札字迹带着书写时的情绪温度，或疾或缓，藏着旧时文人间的交游日常与幽微心绪，纸墨晕染间尽显彼时文人的笔墨风流，是兼具文献价值与审美价值的文墨佳作。",[7,24,25,86,178,263,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc792fd82666d8043a1bf474598bf8556.jpg",[328],{"id":80278,"slug":80279,"title":74232,"dynasty":76,"author":80280,"museum":311,"description":80281,"tags":80282,"thumbUrl":80283,"material":2164,"size":2165,"collection":139,"collections":80284,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240420,"shou-zha-juan-qian-qian-yi-240420","钱谦益","钱谦益（1582年10月22日—1664年6月17日），字受之，号牧斋，晚号蒙叟，东涧老人。学者称虞山先生。清初诗坛的盟主之一。苏州府常熟县鹿苑奚浦（今张家港市塘桥镇鹿苑奚浦）人。\n钱谦益是明万历三十八年（1610年）探花（一甲三名进士），后为东林党的领袖之一，官至礼部侍郎，因与温体仁争权失败而被革职。明亡后，马士英、阮大铖在南京拥立福王，建立南明弘光政权，钱谦益依附之，为礼部尚书。后降清，为礼部侍郎。\n钱谦益的评价富于争议，尤其是降清、仕清之举成为其道德症结，清乾隆帝将之视作失节者，删禁其著作；但也有学者指出，入清后钱谦益仍多次私下策反降清武将、暗中资助郑成功反清等等。若就文学地位而言，则钱谦益仍应得到肯定。",[7,86,25,178,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda2b518935f750fcc5e0a7c524c3e99.jpg",[],{"id":80286,"slug":80287,"title":74232,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":80288,"thumbUrl":80289,"material":2164,"size":2165,"collection":139,"collections":80290,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240335,"shou-zha-juan-dong-qi-chang-240335",[7,99,86,178,25,263,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da620d7dc9aed2802c5a94155a484c7.jpg",[],{"id":80292,"slug":80293,"title":80294,"dynasty":54,"author":278,"museum":311,"description":80295,"tags":80296,"thumbUrl":80297,"material":2164,"size":2165,"collection":139,"collections":80298,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240305,"zhi-hui-shan-yu-jia-shi-di-lun-xie-jing-juan-yi-ming-240305","智慧山瑜伽师地论写经卷","整卷以细密小字贯连始终，笔致恭谨流畅，尽显唐人写经的典型意韵。墨色沉润匀净，历经岁月依旧清晰醒目，朱圈句读点缀其间，与浓墨形成雅致对比，既标注文句，也为满卷笔墨增添了灵动层次。\n通篇排布齐整端严，字字大小匀停却暗藏变化，起收转合恪守唐楷法度，兼具抄经的实用性与书法审美价值。一笔一划皆见抄经人专注的心神，将宗教书写的虔诚融于笔墨之中，静静承载着千年前的书写传统与沉静匠心。",[7,86,5152,621,25,243,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b5b9cee6941860477dc7e4fddfa463.jpg",[],{"id":80300,"slug":80301,"title":54050,"dynasty":99,"author":80302,"museum":311,"description":80303,"tags":80304,"thumbUrl":80305,"material":699,"size":139,"collection":328,"collections":80306,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},240263,"shi-juan-ma-ru-long-240263","马如龙","此作用笔奔纵恣肆，以狂草写就全篇，笔墨如江河奔泻，行气贯通无间。线条枯润互见，提按顿挫间尽显雄放跌宕，字形欹正错落，大小随心排布，看似率意不羁，实则暗合章法。\n飞白苍劲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桥","此画以淡墨轻赭铺就秋山暮色，近坡古木虬曲，疏枝朗叶尽染萧索秋意，板桥跨溪连接山居野径，山坳间隐见村舍，暗藏烟火余温。远景奇峰崷崪，以简劲皴笔写山石棱线，晕染出空濛山岚，天际群雁齐飞，汀洲渔舟点点。\n\n画面虚实相生，将幽寂山野与隐逸闲趣相融，淡墨里漾着清远禅意，静中含动，把秋日林泉的疏旷淡远娓娓铺陈，藏着寄迹林泉的悠然意绪。",[7,23,173,1218,177,108,866,266,176,109,1265,4064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cacd3845460cff03a842a59e29690a.jpg",[],{"id":80462,"slug":80463,"title":10657,"dynasty":277,"author":278,"museum":311,"description":80464,"tags":80465,"thumbUrl":80466,"material":2164,"size":2165,"collection":139,"collections":80467,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},231690,"shan-shui-tu-juan-yi-ming-231690","此卷以平远之境铺陈，江水宛转串联淡墨晕染的浅丘远山，晕开江乡空濛的烟岚之气。江岸虬松卓立、茅舍错落，江心归帆缓行，将江南野渡日常的清寂萧散尽数铺展。\n笔墨简逸苍润，淡墨皴擦勾勒出柔缓的山峦肌理，枯笔写就的松枝苍劲老辣，留白衬出悠远余韵。左侧题跋与画面相映成趣，诗画合璧，尽显文人画简淡天真的林下之风，把江天无尽的闲淡诗意融于长卷之中。",[7,23,24,25,173,29,174,34,1265,37,175,177,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf68c467bc6fdbbd23d17dbddac51dc.jpg",[],{"id":80469,"slug":80470,"title":80471,"dynasty":277,"author":278,"museum":311,"description":80472,"tags":80473,"thumbUrl":80474,"material":139,"size":139,"collection":139,"collections":80475,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":49},231676,"jun-niu-tu-juan-duan-jian-yi-ming-231676","骏牛图卷断简","此作笔墨凝练老辣，以浓墨晕染牛身，将黑牛油润厚重的皮毛质感尽显，墨色晕渍自然，兼具体量感与蓬松绒感。画师精准捕捉牛缓步行进的姿态，肩胛、腰腿的肌肉轮廓暗含张力，双目圆睁有神，系着缰绳却不见局促，反倒带着温驯又沉稳的山野意趣。\n\n泛黄绢本遍布细碎裂纹，带着岁月沉淀的斑驳质感，更衬得墨色愈发沉郁古雅。整幅画面无多余衬景，全然聚焦于牛之形神，笔简意足，尽显畜兽画的写实功力与空灵意韵。",[7,23,173,808,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8caa0f5870c4f2752ffffbbec472df6.jpg",[],{"id":80477,"slug":80478,"title":77307,"dynasty":277,"author":77308,"museum":311,"description":77309,"tags":80479,"thumbUrl":80480,"material":2164,"size":2165,"collection":139,"collections":80481,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},231671,"shi-he-mi-an-xiang-du-bian-hua-shan-231671",[7,23,27,28,106,63,263,86,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1565a90f220b25ce31465b9db553d5eb.jpg",[],{"id":80483,"slug":80484,"title":80485,"dynasty":277,"author":278,"museum":311,"description":80486,"tags":80487,"thumbUrl":80488,"material":139,"size":139,"collection":139,"collections":80489,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":49},231656,"yun-juan-tu-juan-yi-ming-231656","云卷图卷","此作以全景长卷铺展世间烟火，疏密有致的构图将郊野与町肆串联。画面里市集人流攒动，官绅出行的仪仗、贩夫走卒的行迹、乘马驱车的行人错落交织，朱红牌坊临水而立，乡野村居错落铺陈。\n工细的线条勾勒出各色人物的情态衣袂，古雅的设色晕染出郊野的温润底色，将市井喧嚷、仕宦排场与田舍闲趣融为一体。细节里藏着往昔日常的鲜活风貌，把旧岁世相凝于绢素之间，尽显写实叙事的古雅意趣。",[7,23,25,27,28,106,150,108,35,8925,50272,34,266,151,119,1807,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5c9e889cce3d7668f0cb97b6412eb.jpg",[],{"id":80491,"slug":80492,"title":77316,"dynasty":277,"author":76782,"museum":311,"description":80493,"tags":80494,"thumbUrl":80495,"material":2164,"size":2165,"collection":139,"collections":80496,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":49},231627,"shi-ting-shi-dai-shan-shui-tu-zhou-yue-weng-cang-qiu-231627","这幅水墨山水以枯笔勾皴山石肌理，淡墨晕染烟岚，层岩峻岫隐于空濛雾气中，虚实相生铺展出春日山野的清寂空阔。\n\n汀洲古松挺劲苍秀，溪畔行人策杖徐行，山腰楼宇藏于林峦间，动静相映，尽显林泉幽致。题诗与画境呼应，诗画合璧，将春山烟雨间的林下幽居意趣娓娓道来，笔简意赅尽显文人山水的萧散雅逸，观之如踏入烟岚春山，漫染林泉间的闲淡古韵。",[7,23,24,225,173,177,29,107,1365,106,466,176,37,175,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b5a4ac76cd422e8c48ebe8c84dbbe7.jpg",[],{"id":80498,"slug":80499,"title":16576,"dynasty":277,"author":19249,"museum":311,"description":62592,"tags":80500,"thumbUrl":80501,"material":2164,"size":2165,"collection":139,"collections":80502,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":49},231623,"shan-shui-tu-zhou-shou-ye-yuan-xin-231623",[7,23,24,225,173,29,177,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6e677f0e6a52b9f803f1974f8a67618.jpg",[],{"id":80504,"slug":80505,"title":80506,"dynasty":277,"author":278,"museum":311,"description":80507,"tags":80508,"thumbUrl":80509,"material":2164,"size":2165,"collection":139,"collections":80510,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},231614,"shi-ting-shi-qi-jian-feng-si-tu-juan-yi-ming-231614","室町时期 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一手轻扶笼沿，似正缓步行于街巷。两侧竹笼以细笔勾其编织纹理，笼内货物隐约可见，朴实质感呼之欲出。人物衣袂的褶皱随体态流转，竹篾的经纬在简线中清晰可辨。画面静中含动，将市井买卖的寻常瞬间定格，烟火气漫溢纸间。虽无色彩渲染，却以线条的疏密、轻重，勾勒出旧时光里街头巷尾的鲜活暖意，尽显生活本真之趣。",[7,23,24,81,244,106,14900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2006c794f031187b58bf0277d7315681.jpg",[],{"id":82050,"slug":82051,"title":82052,"dynasty":76,"author":278,"museum":311,"description":82053,"tags":82054,"thumbUrl":82055,"material":699,"size":139,"collection":139,"collections":82056,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},215377,"bai-miao-jie-tou-mai-mai-hua-ce-180-yi-ming-215377","白描街头买卖画册-180","淡墨线条牵起市井烟火，身着短衫的挑担人缓步而来。帽檐压着晨暮风尘，扁担横肩，一侧布袋鼓胀如棉桃待放。眉眼间藏着生计奔波，却无半分倦怠，反是踏实鲜活的模样。白描不施粉黛，仅用线的轻重转折，便勾出烟火里的温度——那肩挑的何止货物，是寻常日子的细碎盼头。笔锋落处，市井的呼吸清晰可闻：仿佛听见扁担吱呀轻响，看见他穿巷而过，身影撞碎晨雾微光。这帧素笔速写，是时光切片，将百年前街头谋生的姿态，凝作永恒鲜活的印记，让观者触到旧时光里的烟火暖意。",[7,244,81,106,63,14900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f6ac9e46caa0b58fe11acb54c2dff27.jpg",[],{"id":82058,"slug":82059,"title":82060,"dynasty":76,"author":278,"museum":311,"description":82061,"tags":82062,"thumbUrl":82063,"material":699,"size":139,"collection":139,"collections":82064,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},215371,"bai-miao-jie-tou-mai-mai-hua-ce-187-yi-ming-215371","白描街头买卖画册-187","素纸之上，人物端坐织机前，衣袂线条流转如行云，勾勒出专注的眉眼与温婉的姿态。织机木架拙朴，经纬间似有丝线在指尖游走，案上物件错落，藏着市井烟火的余温。白描以简胜繁，无华彩却见真意，每一笔都凝着对日常劳作的细致观察。时光仿佛在此慢下来，定格了这份指尖上的坚守，让古朴的生活场景在素净线条里鲜活如初，尽显传统技艺与生活美学的交融之韵。",[7,244,81,106,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd8617c8d887c8a43aa1e1cfc326c5c.jpg",[],{"id":82066,"slug":82067,"title":82068,"dynasty":76,"author":278,"museum":311,"description":82069,"tags":82070,"thumbUrl":82071,"material":699,"size":139,"collection":139,"collections":82072,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},215370,"bai-miao-jie-tou-mai-mai-hua-ce-186-yi-ming-215370","白描街头买卖画册-186","以线立形，勾勒市井浮生一隅。素纸之上，人物端坐案前，手势凝注案间，陶碗与布帛错落成趣。简易木桌的横斜线条，衬出街头买卖的朴实质感。无浓墨重彩，却以简练挺括的笔触摹写生活本真：专注的神态里，似能听见市井细碎声响，触到寻常日子的温热。白描之妙，在删繁就简，留白处藏万种风情，让百年前的街头烟火，于素净线条中缓缓流淌，鲜活如昨。",[7,244,81,106,14900,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73354d67e5326953327709e5d881af33.jpg",[],{"id":82074,"slug":82075,"title":82076,"dynasty":76,"author":278,"museum":311,"description":82077,"tags":82078,"thumbUrl":82079,"material":699,"size":139,"collection":139,"collections":82080,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},215369,"bai-miao-jie-tou-mai-mai-hua-ce-188-yi-ming-215369","白描街头买卖画册-188","画面中渔者的身影朴拙生动。宽檐斗笠遮去半面，长杆斜倚肩头，鱼篓垂于腰侧，赤足踏地的姿态透着劳作后的从容。衣纹线条疏朗却见筋骨，寥寥几笔便勾出布衣的褶皱与质感。他侧身而立，似刚从江畔归来，眉宇间藏着市井烟火的温度。白描手法以线塑型，无浓墨重彩却见深情——每一道线条都牵着生活的脉络，将渔者的日常情态凝在纸上。这像是旧时光里截取的片段，带着江风的清润，也藏着对平凡生计的细腻观照，让观者窥见往昔街头的鲜活底色。",[7,244,81,106,63,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b2d772afae207e0d0438d5235baa9f.jpg",[],{"id":82082,"slug":82083,"title":82084,"dynasty":76,"author":278,"museum":311,"description":82085,"tags":82086,"thumbUrl":82087,"material":699,"size":139,"collection":139,"collections":82088,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},215368,"bai-miao-jie-tou-mai-mai-hua-ce-190-yi-ming-215368","白描街头买卖画册-190","线条简练如行云流水，勾勒出街头买卖的鲜活一幕。卖货人侧身立于摊前，抬手整理筐中物，衣袂褶皱间藏着生活的张力。竹架撑起的摊位上，竹筐、木桌错落，筐内果实隐约可见，悬垂的葡萄串似坠非坠，添了几分灵动。白描技法以无彩之笔显物之质感，竹的坚韧、木的质朴、人的情态皆跃然纸上。画面无喧嚣却满溢市井烟火气，仿佛能听见摊主轻捋货物的细碎声响，看见阳光洒在摊位上的温柔。这旧时光里的平凡一角，以极简之笔藏着最朴素的暖意，让观者触摸到百年前街头的鲜活脉搏。",[7,23,24,81,244,106,14900,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d78254b6ad38dde69a890798669d793.jpg",[],{"id":82090,"slug":82091,"title":82092,"dynasty":76,"author":278,"museum":311,"description":82093,"tags":82094,"thumbUrl":82095,"material":699,"size":139,"collection":139,"collections":82096,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},215355,"bai-miao-jie-tou-mai-mai-hua-ce-202-yi-ming-215355","白描街头买卖画册-202","墨线流转间，勾勒出市井一隅的闲淡况味。宽袍人物斜倚交椅，发髻轻挽，眉目间漫着慵怠的松弛，似是喧嚣里偷得半刻浮生。侧旁小几简约，陶盆静立，线条洗练却藏质感，与人物悠然姿态相映。笔力精准不刻意，衣褶垂坠、器物轮廓皆以极简墨线传达，素净纸面铺展生活本真。无浓墨重彩渲染，淡墨浅痕里是对市井烟火的细腻体察，每根线条都诉着寻常日子里的温柔从容，于简素中见生动，于平淡里藏深情。",[7,244,81,106,14900,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a56788cdca9bcf9852724128170750.jpg",[],{"id":82098,"slug":82099,"title":82100,"dynasty":76,"author":278,"museum":311,"description":82101,"tags":82102,"thumbUrl":82103,"material":699,"size":139,"collection":139,"collections":82104,"showCount":1337,"zanCount":48,"manualWeight":48,"mainColor":94},215353,"bai-miao-jie-tou-mai-mai-hua-ce-204-yi-ming-215353","白描街头买卖画册-204","素纸铺展，墨线似细柳扶风般勾勒出街头货郎的身影。他肩挑扁担，两端垂挂着竹篮与圆状器物，手中蒲扇轻摇，仿佛能嗅到巷陌间的烟火气。白描的妙处正在于删繁就简，衣袂的褶皱随步履轻摆，器物的轮廓清晰可辨，每一笔都精准传神。无需浓墨重彩，货郎的从容姿态与市井的鲜活气息便跃然纸上。这帧小画，以极简笔墨捕捉旧时光里的平凡瞬间，将寻常买卖的日常凝成带着温度的岁月剪影，引人回味那些藏在素净线条里的烟火与生机。",[7,244,106,81,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb5fc61e30dced41f5d6426d8be55b30.jpg",[],{"id":82106,"slug":82107,"title":82108,"dynasty":76,"author":278,"museum":311,"description":82109,"tags":82110,"thumbUrl":82111,"material":699,"size":139,"collection":139,"collections":82112,"sh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形的轮廓，则又可以上溯到董源的传统。",[23,7,225,105,29,107,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c57b458a035bd2ef7b2a95a6c3e25f.jpg","136.1x63.2厘米",[181,45],{"id":84313,"slug":84314,"title":24041,"dynasty":76,"author":84315,"museum":311,"description":84316,"tags":84317,"thumbUrl":84318,"material":2164,"size":2165,"collection":139,"collections":84319,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},290388,"shan-shui-tu-ye-gu-yin-guang-290388","顾胤光","此作用笔简淡秀逸，以干笔皴擦勾勒山石肌理，湿墨晕染晕开远山空濛。近岸枯木虬曲多姿，或疏枝苍劲、傲骨嶙峋，或垂丝轻曳、柔态扶风。水面以留白代碧波，汀洲茅舍隐于林麓，幽寂清旷。右上角题字古雅，朱印点睛，诗画相融无间。\n整幅不作浓艳敷色，尽显萧散冷逸的林下之风，将春日水岸的淡远空寂勾勒入微，藏着文人画独有的简淡意趣，观之便如身临无人江渚，揽天地疏朗，偷得片刻沉静闲逸。",[7,23,24,173,29,866,1265,770,266,2310,229,86,263,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956b7d014aafa4df5b1732f2cb42b6a7.jpg",[],{"id":84321,"slug":84322,"title":84323,"dynasty":76,"author":36060,"museum":311,"description":33280,"tags":84324,"thumbUrl":84325,"material":2164,"size":2165,"collection":139,"collections":84326,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},290212,"jin-fen-shui-cun-tu-cheng-dong-gao-290212","金粉水村图成",[7,1352,23,29,27,79892,86,621,194,1082,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55825679e5d552e5fedfeb3363063b3a.jpg",[],{"id":84328,"slug":84329,"title":84330,"dynasty":76,"author":278,"museum":311,"description":84331,"tags":84332,"thumbUrl":84333,"material":2164,"size":2165,"collection":139,"collections":84334,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},288367,"she-xi-tu-ye-yi-ming-288367","涉溪图页","此作用开合之境铺展冬野行旅图景，一侧巨岩陡立，巉岩覆郁，另一侧古木虬曲，疏枝尽露荒寒。浅滩处旅人牵衣涉溪，水波微动漾起细碎涟漪；崖畔山道上骑者徐行，与溪间行人遥相呼应。远景佛塔隐于烟霭山峦间，晕染出空寂萧疏的氛围感。\n\n笔墨苍朴老辣，以斧劈皴勾勒山石肌理，枯笔写出老树荒寒之态，设色古雅沉静。将羁旅赶路的日常，晕染成悠远的山水诗韵，把行旅迢遥之意融于山野清寂之中，尽显以景寄情的传统意趣，带着清雅朴拙的古意。",[7,23,1218,27,177,865,109,176,106,150,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d751b3682c24b460fdd522736a75857.jpg",[],{"id":84336,"slug":84337,"title":84338,"dynasty":76,"author":278,"museum":311,"description":84339,"tags":84340,"thumbUrl":84341,"material":2164,"size":2165,"collection":139,"collections":84342,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},288187,"shuang-qin-tu-ye-yi-ming-288187","双禽图页","此作工致秀雅，两只鹌鹑意态悠然，一昂首侧目望向花枝，似在细闻芳馨，一垂首敛羽，仿若啄食理毛，翎毛细笔丝染，蓬松绒羽的质感尽显。\n\n周遭鸢尾杂花错落生姿，叶片舒展柔劲，设色清妍柔和，淡赭、石青与紫晕相融，古绢底色晕染出沉静古雅的氛围。画面疏密相宜，右上角题字与景致浑然一体，将秋野一隅的闲静生机尽显。写生功力精湛，把禽鸟灵动与花草幽柔完美契合，晕染细腻温婉，带着恬淡安宁的文人意趣，尽显小品花鸟的雅致韵味。",[7,23,24,209,4850,28,27,83,1628,386,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851254b3a5d02bb317e06522a50c59a3.jpg",[],{"id":84344,"slug":84345,"title":84346,"dynasty":76,"author":278,"museum":311,"description":84347,"tags":84348,"thumbUrl":84350,"material":2164,"size":2165,"collection":139,"collections":84351,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},288037,"min-sheng-yan-chang-quan-tu-yi-ming-288037","闽省盐场全图","以工笔设色绘就山海格局，晕染出苍润海色与厚重山峦，写实勾勒闽地岸线肌理。图中排布盐场灶寮、汛防营垒与聚居村落，将清代闽省盐业的生产布局、海防护产的格局完整铺陈。\n\n它突破单纯舆图的枯燥，以山水笔法晕染景致，山海相映间既保留地理纪实的严谨性，又带着传统古画的雅致意趣，既是窥探清代闽海盐业经济脉络的珍贵实证，亦是融实用性与审美性为一体的舆图佳作，凝留住百年前闽海盐业的鲜活图景。",[7,23,25,27,29,106,49413,84349,7258],"海岛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa162979780b3c0923445f34a36f0cd21.jpg",[],{"id":84353,"slug":84354,"title":84355,"dynasty":76,"author":278,"museum":311,"description":84356,"tags":84357,"thumbUrl":84358,"material":2164,"size":2165,"collection":139,"collections":84359,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},288033,"yu-fan-yi-ming-288033","鱼贩","此作工笔清劲秀逸，衣褶线条简练利落，将二人情态勾勒入微。货担之上蔬果水产错落排布，枝叶鲜活舒展，可见描摹写实的深厚功力。整体色调古雅温润，铺陈出旧时光里的烟火日常，未作刻意雕琢，将贩夫走卒间的闲散对话定格成隽永画面，淡写市井浮生的松弛意趣，晕开世俗暖意，尽显传统人物画描摹世情的细腻笔致，让观者仿若窥见百年前巷陌里的鲜活一隅。",[7,23,106,27,28,783,84355,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca969127936a5e634e32e82dba7f2c8a.jpg",[],{"id":84361,"slug":84362,"title":84363,"dynasty":277,"author":278,"museum":311,"description":84364,"tags":84365,"thumbUrl":84366,"material":2164,"size":2165,"collection":139,"collections":84367,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":629},287936,"jin-gang-bo-re-bo-mi-jing-can-juan-hei-se-zhi-yi-ming-287936","金剛般若波蜜經殘卷黑色紙","此残卷以乌地衬出劲秀小楷，通篇排布匀整茂密，字字端雅秀润，笔致清劲凝练，尽显写经特有的恭谨法度。点画精到到位，结体端稳舒展，字距行距齐整划一，通篇气息贯通肃穆，带着宗教典籍特有的沉静庄严。\n\n纸面虽有斑驳残损，却更添古旧沧桑的厚重质感，残存经文绵密却不拥塞，笔意匀净含蓄，将书写者的虔诚融入笔墨之间，尽显写经的典型风貌，静静承载着久远的信仰传承与古典书法美学的融合意蕴。",[7,5152,86,621,25,8567,243,5153,65017],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98caf8ba711aec5b83d21a51125972e.jpg",[],{"id":84369,"slug":84370,"title":76919,"dynasty":277,"author":278,"museum":311,"description":84371,"tags":84372,"thumbUrl":84373,"material":2164,"size":2165,"collection":139,"collections":84374,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},287918,"yu-jia-shi-di-lun-sheng-wen-di-fen-men-ji-juan-zhi-bei-yi-ming-287918","泛黄麻纸晕开岁月的痕迹，墨笔排布匀整端严，朴拙笔意藏着抄经手静定的修行日常。朱笔校注错落点缀，是研学义理时的悉心标注，虽为纸背誊录，却凝着中古佛学传习的鲜活切片。残损纸缘刻着时光剥蚀的印记，笔墨沉潜千年研学温度，是信仰与文字交织的质朴遗存，静静诉说着往昔僧众研阅经论的虔诚日常。",[7,25,86,5152,243,5153,621],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晚清官员、文史学家。\n光绪六年进士，官至山西道监察御史。数上封事，不避权要。日记三十余年不断，读书心得无不收录。学识渊博，承乾嘉汉学之余绪，治经学、史学，蔚然可观。长于骈文，被称为“旧文学的殿军”。\n所著《越缦堂日记》，内容涉及经史、纪事、读书记、诗文等，字数多达数百万字，是一部文史、学术宝库，人评为“可继亭林《日知录》之博，”又谓“生不愿作执金吾，惟愿尽读李公书。”为“晚清四大日记之冠”（另三部为《缘督庐日记》《翁同龢日记》和《湘绮楼日记》）。",[7,86,25,178,621,5153,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fd5963f627123d893c453c7501b11b.jpg",[],{"id":84448,"slug":84449,"title":84450,"dynasty":76,"author":84451,"museum":311,"description":84452,"tags":84453,"thumbUrl":84454,"material":2164,"size":2165,"collection":139,"collections":84455,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},241442,"shou-zha-heng-liang-zhang-ju-241442","手札横","梁章钜","梁章钜（1775－1849），字闳中，又字茝林，号茝邻，晚号退庵，祖籍福建福州府长乐县（今福建省福州市长乐区），生于福州府城。其先祖于清初迁居福州市区。",[7,76,86,178,699,7330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754d935ec7173b23ac696cc0424d3816.jpg",[],{"id":84457,"slug":84458,"title":84459,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":84460,"thumbUrl":84461,"material":2164,"size":2165,"collection":139,"collections":84462,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},241347,"zhou-ci-wei-yang-deng-zha-juan-dong-qi-chang-241347","舟次维扬等札卷",[7,86,24,25,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48611280b894c4fa2c22a0a3ad21961.jpg",[],{"id":84464,"slug":84465,"title":84466,"dynasty":99,"author":84467,"museum":311,"description":84468,"tags":84469,"thumbUrl":84470,"material":2164,"size":2165,"collection":139,"collections":84471,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},241187,"zhi-yao-xian-wen-zha-zuo-guang-dou-241187","致姚现闻札","左光斗","左光斗（1575年10月12日—1625年8月30日），字遗直，一字拱之、共之，号浮丘，又号苍屿。安庆府桐城县（今安徽省枞阳县横埠镇）人。明末东林党人，水利专家，“东林六君子”之一。\n左光斗自小勤奋好学。其于万历三十五年（1607年）进士及第，授中书舍人。万历四十七年（1619年），被举任为浙江道监察御史。 之后历官左佥都御史、直隶屯田事、大理寺左寺丞。天启五年三月十九日（1625年4月25日），因对抗权宦魏忠贤而下狱。七月二十六日（8月30日）在狱中被折磨而死，享年五十一岁。南明弘光时平反，谥为忠毅。\n左光斗为官清正、磊落刚直，被誉为“铁面御史”，为挽救明王朝做出了许多努力，出任屯田监察御史期间，在天津实施“三因十四议”的屯田方案。 还主持了西北水利空间范围内的京东、畿辅的水利屯田实践，取得明显成效。 后人辑有《左忠毅公集》。",[7,939,86,178,25,263,64619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2292bb998f616576b9da118dadac97cd.jpg",[],{"id":84473,"slug":84474,"title":84475,"dynasty":99,"author":84476,"museum":311,"description":84477,"tags":84478,"thumbUrl":84479,"material":2164,"size":2165,"collection":139,"collections":84480,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},241015,"shu-qi-lv-juan-yang-chong-shan-241015","书七律卷","杨崇善","此作用笔纵逸洒脱，通篇以草书挥洒，笔墨枯湿浓淡富于变化，提转顿挫间尽显笔力遒劲。起首笔势开张，字形欹正相生，将律诗意韵融于线条流转之中，随诗意起伏，或缓或疾，时而朴拙厚重，时而灵动飞扬。\n\n字里行间疏朗错落，满纸笔墨却丝毫不显拥塞，墨色晕染自然，枯笔处见筋骨嶙峋，湿笔处见腴润饱满，将诗作里的羁旅愁思、故园之念依托笔墨倾泻而出，是诗书合一的佳构，尽显文人风雅的笔墨情致。",[7,86,178,25,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd791233fb3b869a29c7f31b53733ec53.jpg",[],{"id":84482,"slug":84483,"title":84484,"dynasty":99,"author":84485,"museum":311,"description":84486,"tags":84487,"thumbUrl":84488,"material":699,"size":139,"collection":328,"collections":84489,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},241000,"tao-yan-zhi-juan-pian-tao-yan-241000","陶琰致卷片","陶琰","陶琰（1449-1532），字廷信，号逸庵，山西承宣布政使司平阳府绛州（今山西省运城市新绛县）陶家巷人。正统十四年（1449）出生，少时聪敏好学，过目成诵。成化七年（1471）乡荐第一。弘治时任固原兵备副使，执法不挠。正德初迁刑部右侍郎，忤刘瑾下狱。瑾败复官，正德七年(1512)以右都御史巡视浙江，修筑萧山至会稽防洪堤，先后三次总督漕运。嘉靖元年(1522)以功任工部尚书，寻改南京兵部。次年致仕，卒于家。",[7,86,178,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94301e67249c331fbb503d062233b6cc.jpg",[328],{"id":84491,"slug":84492,"title":84493,"dynasty":99,"author":84494,"museum":20,"description":84495,"tags":84496,"thumbUrl":84497,"material":699,"size":139,"collection":328,"collections":84498,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240997,"shu-yi-lu-tang-ye-ji-lian-ju-juan-zhu-ying-deng-240997","书宜禄堂夜集联句卷","朱应登","此狂草长卷笔墨纵逸酣畅，字势奇宕舒展。牵丝映带间流转自然，将唱和雅兴寄寓于笔墨节律。布白疏密相生，时如惊风骤雨、字间缠绕密不透风，时似空山留白、疏朗自在。行与行错落呼应，如流泉奔涌一气呵成。墨色枯润浓淡交织，燥锋挺劲见筋骨，湿笔腴润藏温雅，起落提按间暗合夜集疏放的文人意气，尽显狂草抒情性与法度之美。",[7,86,25,178,173,263,29,174,1542,108,109,175,266,402,406,226,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c98dbb2e6557e349cc7e45226036aa3.jpg",[328],{"id":84500,"slug":84501,"title":84502,"dynasty":76,"author":84503,"museum":311,"description":84504,"tags":84505,"thumbUrl":84506,"material":2164,"size":2165,"collection":139,"collections":84507,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240990,"si-jia-zhi-song-luo-zha-juan-liang-xi-240990","四家致宋荦札卷","梁熙","梁熙，字曰缉，鄢陵人，清朝政治人物、进士出身。",[7,86,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea060d8ab1a6224cd17a7ced4325ab4.jpg",[],{"id":84509,"slug":84510,"title":64524,"dynasty":76,"author":84511,"museum":311,"description":84512,"tags":84513,"thumbUrl":84514,"material":2164,"size":2165,"collection":139,"collections":84515,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240925,"shi-he-juan-wang-qi-sun-240925","王芑孙","王芑孙（1755—1817），清代文学家、赋论家。字念丰，一字沤波，号惕甫，一号铁夫、云房，又号楞伽山人。长洲（今江苏苏州）人。乾隆五十三年（1788）召试举人，任国子监典籍、咸安宫教习、华亭县教谕。后辞官归，任扬州乐仪书院山长。学问宏博，文章名震一时，肆力于诗，最工五古，被称为“吴中尊宿”。工书逼刘墉，不期而合。吴门自明季以来，书家用笔，皆以清秀俊逸见长，至芑孙，始以遒厚浑古矫之，遂为三百年所未有。著有《碑版广例》、《楞伽山房集》、《渊雅堂集》。",[7,24,25,86,178,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb636181f8cdc43e399fbf45c8fe84290.jpg",[],{"id":84517,"slug":84518,"title":50984,"dynasty":99,"author":84519,"museum":311,"description":84520,"tags":84521,"thumbUrl":84522,"material":2164,"size":2165,"collection":139,"collections":84523,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240922,"zi-shu-shi-juan-zhao-nan-xing-240922","赵南星","赵南星（1550年4月19日—1628年1月23日），字梦白，号侪鹤，别号清都散客，北直隶真定府高邑（今河北省高邑县）人。明代后期政治家、文学家，东林党的首领之一。\n明神宗万历二年（1574年），赵南星登进士第。历任汝宁推官、户部主事、吏部考功郎中、吏部文选员外郎等职。万历二十一年（1593年），与孙鑨负责癸巳京察，触动在朝者利益，被罢黜。此后在家闲居长达二十余年。明熹宗天启三年（1623年），赵南星被重新启用，任吏部尚书。为政期间，革新吏治，整肃朝纲，风气为之一新。但随着东林党人与阉党斗争的失败，赵南星被革去官职，削籍戍代州。明思宗即位之初，即清查魏忠贤案，为其平反。天启七年十二月（1628年1月），赵南星去世，享年七十八岁。追赠太子太保，谥号“忠毅”，世称赵忠毅公。\n赵南星对明代后期政治改革提出了一些富有见地的思想主张，并勇敢地付诸实践，在当时取得明显的成效，对清明政治起了很好的作用。赵南星在文学上亦造诣颇深，作品涉及诗词，散曲等，题材种类之多为明代作家之少有。有《芳茹园乐府》等作传世。",[7,939,24,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e194be605d3cee0186e81fb351cd5b.jpg",[],{"id":84525,"slug":84526,"title":84527,"dynasty":99,"author":23279,"museum":311,"description":69236,"tags":84528,"thumbUrl":84529,"material":2164,"size":2165,"collection":139,"collections":84530,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240857,"za-hua-shi-juan-wen-peng-240857","杂花诗卷",[7,209,23,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f61b24e52a3aa46a17bbb91beb5e6c6.jpg",[],{"id":84532,"slug":84533,"title":54050,"dynasty":99,"author":84534,"museum":311,"description":84535,"tags":84536,"thumbUrl":84537,"material":2164,"size":2165,"collection":139,"collections":84538,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},240855,"shi-juan-zhou-yan-ru-240855","周延儒","字玉绳，号挹斋，南直隶常州府宜兴县（今江苏省宜兴市）人。明朝末年大臣，崇祯年间的内阁首辅之一。\n周延儒自幼聪颖，万历四十一年（1613年）连中会元、状元，历任翰林院修撰、右中允、左庶子、少詹事、正詹、礼部右侍郎等职。他善于迎合崇祯帝旨意，于崇祯二年（1629年）十二月以礼部尚书兼东阁大学士，进入内阁。翌年二月加太子太保衔，改任文渊阁大学士，九月升任内阁首辅，加少保衔，进武英殿大学士。崇祯五年（1632年）二月加少傅兼太子太傅，改吏部尚书，进建极殿大学士。期间与同僚温体仁倾轧，崇祯六年（1633年）六月因被言官陈赞化揭露曾私下称崇祯帝为“羲皇上人”而辞职。崇祯十四年（1641年）九月再任内阁首辅，翌年七月进少师，升为中极殿大学士。他复出后，推翻温体仁主政时的弊政，笼络人心，并重新获得崇祯帝的信任。但同时也倚靠吴昌时、董廷献等亲信，结交内侍，收受贿赂，加剧了朝政的腐败。\n崇祯十五年（1642年）冬，清军第六次入塞大掠，翌年四月，周延儒自请督师堵截撤退的清军，但他不仅没有认真堵截，还不断谎报军情。五月还朝后，崇祯帝欲加封他为太师，但其督师期间的行径随即由锦衣卫都督骆养性等密告于崇祯帝，因而被勒令致仕回乡。不久，言官雷縯祚、郝䌹、蒋拱宸等揭发其招权纳贿、结交内侍，触怒崇祯帝，周延儒被再召至京师，于崇祯十六年十二月（1644年1月）赐死，时年五十五岁。清修《明史》将他列入“奸臣传”。",[7,86,25,178,263,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd68c0a36f4346847b8f2f5faab6ed9.jpg",[],{"id":84540,"slug":84541,"title":84542,"dynasty":76,"author":84543,"museum":311,"description":84544,"tags":84545,"thumbUrl":84546,"material":2164,"size":2165,"collection":139,"collections":84547,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240839,"zhi-lan-po-zha-tong-juan-zhou-er-yong-240839","致兰坡札(通)卷","周尔墉","官京师时，舆昆明赵光齐名。咸丰四年（一八五四）作行书屏，时年六十三。卒年未详。",[7,24,25,178,86,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da0fd0143f3f4eb9e5dac793d7348.jpg",[],{"id":84549,"slug":84550,"title":54050,"dynasty":76,"author":17665,"museum":311,"description":84551,"tags":84552,"thumbUrl":84553,"material":2164,"size":2165,"collection":139,"collections":84554,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240831,"shi-juan-cheng-fang-240831","程淓，顺治进士，曾任诸城县令，擅长山水画，书法。",[7,86,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e5772516527ddd614b08bb15fcacbd.jpg",[],{"id":84556,"slug":84557,"title":84558,"dynasty":99,"author":2494,"museum":311,"description":33314,"tags":84559,"thumbUrl":84560,"material":2164,"size":2165,"collection":139,"collections":84561,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240658,"shu-lin-song-si-jia-juan-dong-qi-chang-240658","书临宋四家卷",[7,86,25,105,178,263,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa2722079e4d42db68a6c7dd6afce4c.jpg",[],{"id":84563,"slug":84564,"title":84565,"dynasty":76,"author":84566,"museum":311,"description":84567,"tags":84568,"thumbUrl":84569,"material":2164,"size":2165,"collection":139,"collections":84570,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240656,"du-shu-lu-juan-qiao-chong-lie-240656","读书录卷","乔崇烈","乔崇烈，字无功，号学斋，江苏宝应人。康熙四十五年（1706）进士，因其长于文学及书法，优选为庶吉士。为人倜傥不羁，诗文对客，挥毫千言立就。",[7,24,86,25,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2092cfd0043df289aad8a8b879ba3759.jpg",[],{"id":84572,"slug":84573,"title":84574,"dynasty":99,"author":84575,"museum":311,"description":84576,"tags":84577,"thumbUrl":84578,"material":2164,"size":2165,"collection":139,"collections":84579,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240517,"ni-shu-gu-shu-huai-juan-wang-lian-jie-240517","拟述古述怀卷","王连捷","此作为行书长卷，笔墨纵横跌宕，满卷真气沛然。字势大小错落、欹正相生，牵丝映带间笔势流转畅达，通篇气息浑融贯通，毫无滞塞。\n提按顿挫富于变化，中锋侧锋兼施，线条粗细枯湿交叠，迅疾挥运与徐缓铺毫兼具，墨色浓淡枯润层次丰盈，尽显书写时的情绪起伏。\n作品兼具二王行书的灵动意趣，又暗含晚明尚奇书风的纵逸格调，将胸中意气尽诉诸笔端，尽显洒脱不羁的书写意态，是文人襟怀与书法抒情性完美融合的佳构。",[7,24,25,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c99d171032afcef1709026aa84d1be.jpg",[],{"id":84581,"slug":84582,"title":84583,"dynasty":76,"author":84584,"museum":311,"description":84585,"tags":84586,"thumbUrl":84587,"material":699,"size":139,"collection":328,"collections":84588,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},240509,"pu-xiao-chuan-juan-zhang-yun-zhang-240509","溥孝传卷","张云章","张云章，生于顺治五年（1648），卒于清雍正四年（1726），太学生。尝从 游京师，客徐乾学家，为校勘宋元经解。后受李楠邀请，校补其父李清所著之《南北史合注》。由此张获得声名，“其后诸公贵人考订文史，必以相属” 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－1555年），字仲芳，号椒山。直隶容城（今河北容城县北河照村）人。明朝中期著名谏臣。\n嘉靖二十六年（1547年），杨继盛登进士第，初任南京吏部主事，师从南京吏部尚书韩邦奇学习律吕。后官兵部员外郎。因上疏弹劾仇鸾开马市之议，被贬为狄道典史。其后被起用为诸城知县，迁南京户部主事、刑部员外郎，调兵部武选司员外郎。\n嘉靖三十二年（1553年），上疏力劾严嵩“五奸十大罪”，遭诬陷下狱。在狱中备经拷打，终于嘉靖三十四年（1555年）遇害，年四十。明穆宗即位后，以杨继盛为直谏诸臣之首，追赠太常少卿，谥号“忠愍”，世称“杨忠愍”。后人以其故宅改庙以奉，尊为城隍。有《杨忠愍文集》。",[7,24,225,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573795b0f9d64d449ca68fae739f1e31.jpg","95×27cm",[],{"id":84724,"slug":84725,"title":84726,"dynasty":76,"author":278,"museum":311,"description":84727,"tags":84728,"thumbUrl":84730,"material":139,"size":84731,"collection":139,"collections":84732,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},231950,"zhi-shui-zou-zhe-yi-ming-231950","治水奏摺","此作为馆阁体小楷，笔致匀净秀润，结体端雅恭谨，笔墨间恪守规整法度，尽显官牍文书的庄重肃穆。\n通篇字迹舒展沉稳，笔画排布疏密合宜，既贴合行文的正式属性，亦彰显出清代典型的馆阁风貌。文字所载治水要务的审慎之意，与笔墨间的端方气质相融，一笔一划皆见对河工事宜的郑重，将政务严谨深植于笔墨礼制之中，是兼具文书价值与书法审美价值的佳作。",[7,315,86,621,21320,84729],"治水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd43e0e5305d49f924b877246c5199014.jpg","24-25cm",[],{"id":84734,"slug":84735,"title":84736,"dynasty":277,"author":80345,"museum":311,"description":80346,"tags":84737,"thumbUrl":84738,"material":2164,"size":2165,"collection":139,"collections":84739,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},231842,"chun-ri-quan-xian-yan-ji-hui-tu-juan-9-gao-jie-long-jian-231842","春日権现验记 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漫游上人传画卷-甲卷","这卷长卷以三段铺陈世相：左侧雅堂内宾主列坐，甲士侍从肃立阶下，仪制俨然；中段抬舆缓行，朱顶水榭静立岸旁，晕出行旅闲寂；右侧郊野间众人云集，或围坐歇憩、或汲水备餐，满是市井烟火气。\n以淡彩白描绘就，线条舒展清劲，场景排布张弛有度，将庄重仪礼与质朴日常串联，细腻复刻出当时社会的参差风貌，笔底带着平和的叙事感，让往昔人间的鲜活图景跃然纸上。",[7,25,27,28,104,106,107,115,114,84865,2220,84866,32058,32793,300],"群体活动","饮食器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dfca485789b0332e45e5e28be4af44e.jpg",[],{"id":84870,"slug":84871,"title":84872,"dynasty":277,"author":278,"museum":311,"description":84873,"tags":84874,"thumbUrl":84878,"material":2164,"size":2165,"collection":139,"collections":84879,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},231712,"lian-cang-shi-dai-man-you-shang-ren-chuan-hua-juan-yi-juan-yi-ming-231712","镰仓时代 漫游上人传画卷-乙卷","此卷铺展古寺盛事，左侧连廊雅客凭栏观礼，衣袂舒展尽显闲雅意态。乌袍僧众沿朱红廊道列队徐行，阵容齐整，气度端严。五层宝塔朱栏青瓦醒目矗立，是整幅画面的视觉重心。右侧凭水高台楼阁错落，各色行人往来穿梭，伞具、和服纹样细腻鲜活。\n\n淡彩平涂晕染出古雅底色，线条勾勒屋宇形制谨严，人物排布疏密有致，将佛事的庄重与市井烟火交织，还原出盛会的热闹图景，笔致质朴却满溢古远的风物意趣。",[7,209,25,23,27,14773,243,84875,106,19635,107,84876,84877,120,22568],"佛事","宝塔","连廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85cb4b17309fb59ae189d0bef73a2dac.jpg",[],{"id":84881,"slug":84882,"title":84883,"dynasty":277,"author":278,"museum":311,"description":84884,"tags":84885,"thumbUrl":84886,"material":2164,"size":2165,"collection":139,"collections":84887,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},231705,"jiang-hu-shi-qi-shan-shui-ren-wu-juan-yi-ming-231705","江户时期 山水人物卷","这卷绘作融书画为一体，右侧设色山水清隽雅致，金箔晕染出水岸朦胧柔光，苍松石崖静立汀洲，笔墨轻简却带着幽远空寂的意境。左侧手书墨色温润柔雅，与绘景相映成趣，留白处金箔碎点如沙洲浮絮，晕开慵懒闲淡的侘寂氛围。整体将山水幽居之静与文思雅韵相融，淡墨轻色间藏着和风独有的闲寂意趣，晕染出一卷清和悠远的林下幽思。",[7,23,24,25,27,29,106,1365,86,178,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2414dbd1ce707a942ef33860aad41545.jpg",[],{"id":84889,"slug":84890,"title":84891,"dynasty":277,"author":278,"museum":311,"description":84892,"tags":84893,"thumbUrl":84894,"material":139,"size":139,"collection":139,"collections":84895,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},231693,"er-lao-tu-zhou-yi-ming-231693","二老图轴","此作以水墨写意铺就闲雅图景，淡墨晕染出郊野空寂底色，垂柳枝桠以枯笔扫就，简劲纵逸，疏疏几笔便牵惹出春日郊林的柔寂意韵。\n\n二老鬓发皤然，侧身凑首共览书卷，衣纹以顿挫简练的线条勾勒，宽袍博带的古雅身形呼之欲出，二人凝神静览，似为卷中字句沉醉，将忘机论道的悠然尽显。稚童垂手侍立身侧，更添松弛闲静。全作以少胜多，以简驭繁，淡墨氤氲间藏起林下雅集的隐逸真趣，把文人耽于文卷、寄情丘壑的雅致心境融于毫端。",[7,23,24,225,173,400,106,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc94e9be5995804e8d4ebe01e80791e08.jpg",[],{"id":84897,"slug":84898,"title":84899,"dynasty":277,"author":278,"museum":311,"description":84900,"tags":84901,"thumbUrl":84902,"material":2164,"size":2165,"collection":139,"collections":84903,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":629},230786,"miao-fa-lian-jing-miao-jin-zhi-yi-ming-230786","妙法莲经描金纸","以瓷青纸为底，泥金小楷恭录经文，点画精劲端雅，结体匀整秀逸，字字排布疏朗工稳，全篇气息静谧庄严，暗合经文的肃穆禅意。\n\n四周搭配古雅富丽的织锦纹饰，柔化了经文的规整肃穆，与泥金书法相映成趣，尽显雅致格调。整幅作品是写经中的精工之作，将书写者的精湛笔力与虔敬之心融于方寸笔墨间，尽显传统写经艺术的极致用心与静谧禅韵。",[7,243,5152,86,621,12207,1116,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c46df31cab44322eca3619b3a9978f.jpg",[],{"id":84905,"slug":84906,"title":84907,"dynasty":277,"author":39983,"museum":311,"description":39984,"tags":84908,"thumbUrl":84909,"material":67,"size":2165,"collection":139,"collections":84910,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},230576,"zhu-tu-ban-zha-jia-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230576","注荼半吒迦尊者",[7,23,243,27,106,28,225,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb9db64658c550af2d824b644c53bd5.jpg",[],{"id":84912,"slug":84913,"title":84914,"dynasty":277,"author":39983,"museum":311,"description":39984,"tags":84915,"thumbUrl":84916,"material":67,"size":2165,"collection":139,"collections":84917,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},230574,"fa-na-po-si-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230574","伐那婆斯尊者",[7,243,106,27,28,107,298,808,436,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f98bc2e20f4050ca3130f80c4b840f.jpg",[],{"id":84919,"slug":84920,"title":84921,"dynasty":277,"author":39983,"museum":311,"description":39984,"tags":84922,"thumbUrl":84923,"material":67,"size":2165,"collection":139,"collections":84924,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},230572,"na-ga-xi-na-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230572","那伽犀那尊者",[7,23,24,27,28,225,243,106,808,384,176,370,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144e096f3784ea482d460f180abc7a29.jpg",[],{"id":84926,"slug":84927,"title":84928,"dynasty":277,"author":39983,"museum":311,"description":39984,"tags":84929,"thumbUrl":84930,"material":67,"size":2165,"collection":139,"collections":84931,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},230568,"fa-du-luo-fu-duo-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230568","伐阇罗弗多罗尊者",[7,23,24,27,28,243,106,65,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8dfdc68d27084d30a5d0fecce139c15.jpg",[],{"id":84933,"slug":84934,"title":84935,"dynasty":277,"author":39983,"museum":311,"description":39984,"tags":84936,"thumbUrl":84937,"material":67,"size":2165,"collection":139,"collections":84938,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},230566,"bo-tuo-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230566","跛陀罗尊者",[7,23,24,225,243,28,27,106,8436,808,136,229,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f361ef0328a78a64e1136188ce9c11.jpg",[],{"id":84940,"slug":84941,"title":84942,"dynasty":277,"author":39983,"museum":311,"description":39984,"tags":84943,"thumbUrl":84944,"material":67,"size":2165,"collection":139,"collections":84945,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},230564,"su-pin-tuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230564","苏频陀尊者",[7,23,24,225,243,27,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184b327ff8d97c9c0db00cc9edff2d25.jpg",[],{"id":84947,"slug":84948,"title":84949,"dynasty":277,"author":278,"museum":311,"description":84950,"tags":84951,"thumbUrl":84957,"material":2164,"size":2165,"collection":139,"collections":84958,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},230559,"dao-cheng-si-tu-juan-yi-ming-230559","道成寺图卷","此卷以淡笔轻墨铺陈哀艳物语，开篇绘闺阁幽思，清姬的缱绻心事凝于柔和衣袂与低垂眉眼间。继而笔锋转向怒浪翻涌的海面，化蛇的清姬鳞爪灵动，红绡飘曳在苍蓝水波间，追逐仓皇避走的安珍，浪涛晕染写意灵动，将爱而不得的疯魔执念尽数托出。后半段山林古刹与钟下的终局，素净笔墨衬出宿命悲怆。\n\n图文交织的叙事节奏缓急相宜，敷色清雅沉静，线条柔婉却藏着痴狂张力，将日式古画特有的幽玄余韵揉入卷中，让这段为爱成魔的传说在素绢上缓缓舒展，哀戚妖异的氛围漫溢在每一处留白里。",[7,25,9700,27,173,106,59,4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饰，从姿态到神情，皆蕴含丰富的文化密码。它不仅是一幅艺术佳作，更如一部鲜活的视觉史书，承载着清代多民族交流与对外邦交的生动记忆，让后世得以窥见那个时代的族群百态与邦国往来的图景。笔墨间流淌着对多元文化的细致观察，既保留纪实严谨性，又兼具艺术生动气韵，为研究清代社会风貌提供了珍贵的图像佐证。",[7,23,24,4850,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c226daf871bc4d4374f56b90ce018e.jpg",[],{"id":86282,"slug":86283,"title":86284,"dynasty":76,"author":278,"museum":311,"description":86285,"tags":86286,"thumbUrl":86287,"material":123,"size":139,"collection":139,"collections":86288,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},216155,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-5-yi-ming-216155","职贡图巨幅彩绘册页第2册-5","彩绘晕染间，四方族群的鲜活气韵扑面而来。工笔细描的服饰纹理——从锦绣团花到粗布毡裘，从珠玉佩饰到兽皮靴履，每一处都镌刻着地域文化的印记。人物神态各异，或执贡物躬身而立，或牵驼马从容侍侧，与背景中的器物、景致相映成趣，铺展成王朝与边地、外邦往来的生动图景。色彩明丽雅致，线条流畅兼具骨力，既显写实功底，亦藏对天下秩序的温情想象。册页形制让这份历史记忆妥帖安放，静静诉说着往昔的交流与交融，岁月沉淀的厚重感，在笔墨间悄然流淌。",[7,23,24,81,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e3643e667af471df798a60ce880e45.jpg",[],{"id":86290,"slug":86291,"title":86292,"dynasty":76,"author":278,"museum":311,"description":86293,"tags":86294,"thumbUrl":86295,"material":123,"size":139,"collection":139,"collections":86296,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},216154,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-2-yi-ming-216154","职贡图巨幅彩绘册页第2册-2","这幅彩绘册页以细腻笔触描摹多元风貌，是窥见清代交流图景的视觉窗口。画面中，人物服饰的纹样、器物的形制皆刻画入微，色彩古朴雅致，既葆有纪实的严谨，又兼具艺术的灵动。每一处细节都似在低语——那些跨越山川的往来，那些不同文化的相遇，都被凝注在这绢素之上。它不仅是技艺的展现，更承载着时代的文化记忆，让观者得以触摸到清代疆域内外民族与邦国间的交融脉络，感受那份跨越时空的生动与厚重。",[7,315,8041,4850,263,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78a28ea7a6296e9f7cc5ebbda89a79e.jpg",[],{"id":86298,"slug":86299,"title":86300,"dynasty":76,"author":278,"museum":311,"description":86301,"tags":86302,"thumbUrl":86303,"material":123,"size":139,"collection":139,"collections":86304,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},216153,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-3-yi-ming-216153","职贡图巨幅彩绘册页第2册-3","这幅彩绘册页以细腻笔触勾勒边疆族群与外邦风貌，是清代民族交流与对外往来的生动注脚。画面设色妍丽雅致，线条精准流畅，人物服饰的纹理、器物的细节皆刻画入微，尽显不同文化的独特韵味。从族群的发式装扮到场景的布局陈设，每一处都承载着丰富的历史信息，既展现了清代对边疆治理的重视，也折射出中外交流的繁盛图景。虽为佚名之作，但其精湛的绘画技艺与严谨的写实风格，让画面兼具艺术感染力与史料价值，仿佛打开一扇窥见清代多元文化交融的窗口，引人探寻那些湮没在时光里的交往故事。",[7,76,81,27,106,263,8041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a67a4ad0c92f4dca70d42afb34b0ad.jpg",[],{"id":86306,"slug":86307,"title":86308,"dynasty":76,"author":278,"museum":311,"description":86309,"tags":86310,"thumbUrl":86311,"material":123,"size":139,"collection":139,"collections":86312,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},216137,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-23-yi-ming-216137","职贡图巨幅彩绘册页第2册-23","两帧并置，人物神态迥异。左者袍服织锦繁艳，花鸟纹样缠枝错落，红顶毡帽衬得仪态雍容；右者蓝袍简练劲挺，腰束饰带垂流苏，步履间透着骁勇之气。线条细腻勾勒衣纹褶皱，设色明丽古雅，衣料质感呼之欲出。旁侧题字或载族属风俗，笔墨与彩绘相映成趣。人物姿态鲜活，立者端稳，行者矫健，眼神神态各有千秋，似能窥见彼时朝贡场景的生动一隅。画作以细腻笔触定格异域风貌，留存边疆民族与中央王朝交流的直观印记，兼具艺术审美与史料价值，为清世民族图景添一抹鲜活色彩。",[7,315,81,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8ab4a845fc09dc925e42c4ed92047ca.jpg",[],{"id":86314,"slug":86315,"title":86316,"dynasty":76,"author":278,"museum":311,"description":86317,"tags":86318,"thumbUrl":86319,"material":123,"size":139,"collection":139,"collections":86320,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},216124,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-36-yi-ming-216124","职贡图巨幅彩绘册页第2册-36","画面绘两异域人物，左为女子，身着粉紫暗纹长袍，头巾缀饰，手持器物，身姿温婉；右为男子，黄帕裹头，络腮胡须，橙裳白袂外覆粉褐披肩，足蹬皮靴，神情朴厚。人物刻画工细，衣纹线条流畅，色彩明丽雅致。旁附题识，详述其族属风俗。整幅画作写实生动，既展现异域风貌，又暗含清代对外域与边疆民族的认知，兼具艺术观赏性与历史文献价值，是职贡题材绘画中颇具代表性的作品。",[7,23,24,81,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11babbfb1ec9ac919a4017bdfba6f60.jpg",[],{"id":86322,"slug":86323,"title":86324,"dynasty":76,"author":278,"museum":311,"description":86325,"tags":86326,"thumbUrl":86327,"material":123,"size":139,"collection":139,"collections":86328,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},216120,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-38-yi-ming-216120","职贡图巨幅彩绘册页第2册-38","画面分左右两帧，左帧女子衣袂明丽，黄地菱形纹长袍镶绿边，紫带束腰，发鬓轻挽，侧身微倾似作揖，姿态温婉；右帧男子着浅蓝长袍，内衬棕褐衣物，紫粉相间的腰带松束腰间，头戴绿顶宽檐帽，面容和善，手势若在交谈。旁侧墨书小字，或详载其族属风俗。画作以细腻笔触捕捉人物神态与服饰细节，衣料纹理、配饰样式皆考究入微。既呈现边疆族群的独特风貌，亦隐现清代多民族交流的图景，笔墨间藏着对异域风情的细致观察，是窥见当时民族文化交融的生动窗口，兼具艺术价值与历史意涵。",[7,23,24,81,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84545aa37284684232fc317bcfb17688.jpg",[],{"id":86330,"slug":86331,"title":86332,"dynasty":76,"author":278,"museum":311,"description":86333,"tags":86334,"thumbUrl":86335,"material":123,"size":139,"collection":139,"collections":86336,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},216072,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-8-yi-ming-216072","职贡图巨幅彩绘册页第3册-8","画面分左右两帧，笔墨细腻勾勒出两位异域风貌的人物。左侧人物着兽皮饰边短装，条纹绑腿衬出赤脚质朴，姿态从容，眉眼间透着温和；右侧武士怒目圆睁，羽饰头饰与兽皮战袍张扬野性，腰间佩刀、手持带缨兵器，肢体张力尽显骁勇。服饰细节考究，毛皮纹理与绑带纹样清晰可见，神态鲜活如临其境。画作以写实笔触记录族群风貌，既展现不同文化的独特质感，也暗藏清代对边疆族群的观察视角，是研究当时民族交流与视觉文化的生动载体。",[7,23,27,28,106,436,2508,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4ec5a7d1b3e3bc0bea4624e4617196.jpg",[],{"id":86338,"slug":86339,"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鲜活传神。通过日常劳作场景，真实呈现特定族群的生活风貌，既是对边地文化的直观记录，也折射出清代描绘多元族群的传统——以具象的生活片段，承载对异域风情的观察与呈现，虽佚名却不失艺术与历史价值。",[7,23,27,28,81,106,436,8727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3f8eaa9f918b129c0b5ca0b1166e4d.jpg",[],{"id":86403,"slug":86404,"title":86405,"dynasty":76,"author":278,"museum":311,"description":86406,"tags":86407,"thumbUrl":86408,"material":123,"size":139,"collection":139,"collections":86409,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},216062,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-18-yi-ming-216062","职贡图巨幅彩绘册页第3册-18","左者青巾裹发，红绿衣襟衬深褐长裙，肩携竹篓，跣足而立；右者羽饰簪头，白袍覆靛蓝短裳，手持鲜绿植株，神态憨朴。笔触细腻写实，服饰细节与持物皆具鲜明族群风情，尽显边疆生活意趣。此作以具象图景承载多元文化记忆，是清代边地族群观察记录的生动切片，于细微处见时代对异域风貌的描摹与珍视。",[7,315,8041,27,28,81,106,63,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed18ebdd2c633d6fc7784cfc9e948ef.jpg",[],{"id":86411,"slug":86412,"title":86413,"dynasty":76,"author":278,"museum":311,"description":86414,"tags":86415,"thumbUrl":86416,"material":123,"size":139,"collection":139,"collections":86417,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},216061,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-20-yi-ming-216061","职贡图巨幅彩绘册页第3册-20","画面绘两人物，左者束发着紫褐上衣、黑裙，腰系红带，足蹬蓝纹绑腿，双手捧青绿器物，神态温婉；右者头插羽翎，着浅蓝短褐与星点蓝裙，身背物什，步履稳健。人物衣饰细节毕现，色彩淡雅和谐。旁附墨书文字，当是对所绘族群的记述。整幅画作写实生动，既展现了不同族群的生活风貌，亦蕴含着清代对边疆与外域族群的观察与记录，具有颇高的艺术与历史价值。",[7,23,27,28,81,8041,106,436,6838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91aa51c12a52b2a53f7212dc8f5e7616.jpg",[],{"id":86419,"slug":86420,"title":86421,"dynasty":76,"author":278,"museum":311,"description":86422,"tags":86423,"thumbUrl":86425,"material":123,"size":139,"collection":139,"collections":86426,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},216058,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-22-yi-ming-216058","职贡图巨幅彩绘册页第3册-22","画面分左右绘两人，皆着质朴衣装，尽显生活本真。左侧人物头裹蓝巾缀红饰，深衣宽袖，袖口露蓝边，腰间束物，步履沉稳似劳作归来；右侧者头扎蓝巾，短褐赤足，腰系蓝带，拄杖背筐，神态安然如田间休憩。线条细腻勾勒衣褶纹理，设色淡雅却见层次，人物姿态鲜活，仿佛能窥见彼时边地民众的日常风貌。画作以写实笔触，将人物衣着、神态与生活场景融于一纸，尽显民俗风情之淳厚，亦为研究当时社会生活留存珍贵视觉印记。",[7,23,24,81,27,28,106,63,315,8041,33973,4176,36270,36271,86424],"民族人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78dcc6ae159b7c8a6b897e9dfcfb50ce.jpg",[],{"id":86428,"slug":86429,"title":86430,"dynasty":76,"author":278,"museum":311,"description":86431,"tags":86432,"thumbUrl":86433,"material":123,"size":139,"collection":139,"collections":86434,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},216056,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-29-yi-ming-216056","职贡图巨幅彩绘册页第3册-29","画面分两帧，左帧人物紫袍束蓝带，赤脚而立，神情平和舒展；右帧则牵一驯鹿，鹿身驮鞍，手持短鞭，姿态与鹿亲昵相融。笔触细腻，衣纹线条流畅婉转，设色淡雅却层次分明。人物装束与驯鹿的搭配，生动还原了特定族群的牧猎日常，尽显质朴自然的生活气息。画作既细致捕捉异域风貌，又暗含王朝对边疆族群的观察与记录，传递出清代职贡图类作品记录四方、彰显大一统的文化意涵。整体写实传神，于细节处见匠心，是研究清代边疆族群形象与文化交流的珍贵视觉载体。",[7,315,23,24,81,27,28,8041,106,4778,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c30f6c43dacb2a6ac93b02b1789abd.jpg",[],{"id":86436,"slug":86437,"title":86438,"dynasty":76,"author":278,"museum":311,"description":86439,"tags":86440,"thumbUrl":86442,"material":123,"size":139,"collection":139,"collections":86443,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},216052,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-27-yi-ming-216052","职贡图巨幅彩绘册页第3册-27","画面分左右二帧，各绘一人物。左者白衣素裹，跣足束发，手提竹桶，身形灵动间透着山野质朴；右者蓝衣覆身，顶戴斗笠，红带系腰，虬髯垂胸，神态憨直尽显豪迈。笔触工细流畅，设色淡雅却鲜明，衣饰细节与动态刻画入微。作为职贡图的一页，它以直观视觉语言记录特定族群的生活样貌与精神气质，既展现清代绘画写实功力，也为研究当时边疆民族文化与交流提供鲜活图像佐证。",[7,315,81,27,28,106,63,86441,36204,14227],"斗笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7840a0c85d02d60fb68fea43d269745.jpg",[],{"id":86445,"slug":86446,"title":86447,"dynasty":76,"author":278,"museum":311,"description":86448,"tags":86449,"thumbUrl":86450,"material":123,"size":139,"collection":139,"collections":86451,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},216051,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-26-yi-ming-216051","职贡图巨幅彩绘册页第3册-26","画面绘两位人物，左侧身着毛皮短袄，下配淡蓝长裙，足蹬软靴，神态悠然；右侧披斑斓兽皮，手持长杆与猎获，身姿矫健。彩绘笔触细腻，衣物质感跃然纸上——毛皮的蓬松、裙料的垂顺皆清晰可见。人物神情鲜活，或从容伫立，或携猎具而归，尽显边地生活的质朴意趣。此作以写实笔调勾勒族群风貌，既展现了绘画技艺的精湛，更暗藏清代边疆民族的生活图景与文化印记，笔墨间流淌着对异域风情的细致描摹与生动记录。",[7,76,81,27,28,106,63,2508,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987bf45be1a106a064ae11743878a24b.jpg",[],{"id":86453,"slug":86454,"title":86455,"dynasty":76,"author":278,"museum":311,"description":86456,"tags":86457,"thumbUrl":86458,"material":123,"size":139,"collection":139,"collections":86459,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":49},216042,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-1-yi-ming-216042","职贡图巨幅彩绘册页第4册-1","这幅彩绘以细腻笔触铺展朝贡图景，人物神态鲜活灵动，各族服饰、器物细节毕现——或披兽皮持猎具，或着锦袍携方物，衣纹线条流转自然，色彩晕染层次分明。画面不仅定格了朝觐的庄重瞬间，更藏着边疆族群的生活印记与邦交往来的温度。册页形制承载着这份历史记忆，每一处细节都是往昔民族交流、文化互鉴的生动注脚，让久远的天下图景在笔墨间缓缓苏醒，尽显传统绘事对世间万象的精微记录与深情观照。",[7,23,24,81,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a54030c817efdc9f26d14517effa76e.jpg",[],{"id":86461,"slug":86462,"title":86463,"dynasty":76,"author":278,"museum":311,"description":86464,"tags":86465,"thumbUrl":86466,"material":123,"size":13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气凝于尺幅。传统白描“以线传神”的魅力在此尽显，读之仿若窥见清代街头的鲜活场景，烟火缭绕间，韵味悠长。",[7,244,81,106,1542,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f64ac6d0cf58e89469fe6e298eba102.jpg",[],{"id":87094,"slug":87095,"title":87096,"dynasty":76,"author":278,"museum":311,"description":87097,"tags":87098,"thumbUrl":87099,"material":699,"size":139,"collection":139,"collections":87100,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215461,"bai-miao-jie-tou-mai-mai-hua-ce-96-yi-ming-215461","白描街头买卖画册-96","素笔勾勒的市井一隅，藏着鲜活的烟火气。人物站姿从容，指尖轻捻物件似在议价，眉眼间漾着日常的温煦。杆秤悬垂，秤砣与葫芦静静倚在旁侧，器物轮廓被线条清晰描摹，每一笔都带着生活的质感。白描的简洁不掩细节生动，衣纹褶皱、秤杆弧度，皆透着对市井生活的细腻观察。这帧画面像从旧时光里裁下的片段，让街头买卖的寻常瞬间，在素纸上凝住永恒的温度——没有浓墨重彩，却把烟火人间的恬淡与真切，都藏进了流畅的线条里。",[7,244,106,228,14900,63,70103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a46f77e6aa41876ecc0dd116994bc2e.jpg",[],{"id":87102,"slug":87103,"title":87104,"dynasty":76,"author":278,"museum":311,"description":87105,"tags":87106,"thumbUrl":87107,"material":699,"size":139,"collection":139,"collections":87108,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215460,"bai-miao-jie-tou-mai-mai-hua-ce-97-yi-ming-215460","白描街头买卖画册-97","纤细却劲道的墨线如行云流水，勾勒出市井人物的鲜活轮廓。头戴小帽的老者须髯轻垂，长衫褶皱随步态舒展，似能听见布料摩擦的细碎声响。手中折扇半合，肩上长杆挑着缀流苏的器物，柔婉的流苏线条与衣料挺括感相映成趣。人物眼神平和，步履从容，仿佛正走在清代街巷的暖阳里，肩上营生藏着烟火气。白描删去冗余，却凝住街头买卖人的日常——无浓墨重彩，只有本真生活质感，如时光定格的市井切片，让百年前的烟火穿过纸页，轻轻落在观者眼前。",[7,76,23,244,106,81,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697a677410ab2d24a2b1e0b0b41cec85.jpg",[],{"id":87110,"slug":87111,"title":87112,"dynasty":76,"author":278,"museum":311,"description":87113,"tags":87114,"thumbUrl":87115,"material":699,"size":139,"collection":139,"collections":87116,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215457,"bai-miao-jie-tou-mai-mai-hua-ce-100-yi-ming-215457","白描街头买卖画册-100","简练墨线如行云流水，勾勒出市井商贩的鲜活身影。竹扁担横跨肩头，一端笼中似藏细碎生机，一端瓮身裹着竹编质朴，两端重量在步履间摇晃出生活的节奏。赤脚的姿态带着泥土的踏实，衣褶线条随行走流转，每一笔都透着对市井细节的精准捕捉。白描素净却见筋骨，无浓墨重彩，却将街头买卖的烟火气晕染开来。平凡人物的奔波与鲜活，在方寸画纸上静静流淌，如旧时光里的一缕风，拂过观者心尖，窥见市井生活里最本真的温度与生动。",[7,244,81,106,228,14900,58253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90864c1be9aef15c2efba88bb38087be.jpg",[],{"id":87118,"slug":87119,"title":87120,"dynasty":76,"author":278,"museum":311,"description":87121,"tags":87122,"thumbUrl":87123,"material":699,"size":139,"collection":139,"collections":87124,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215455,"bai-miao-jie-tou-mai-mai-hua-ce-102-yi-ming-215455","白描街头买卖画册-102","淡墨细线织就清代市井的片刻闲趣。人物衣褶随坐姿舒展，帽顶小饰与衣纹暗线皆见笔致；案上器物以极简轮廓显形，茶盏的圆润、食盒的方整，皆藏于寥寥数笔。画中人神态松弛，似候客时的轻闲，又或与买者的絮语，虽无色彩渲染，却以白描的素净勾连起烟火气。线条的简练未失生动，反而让街头买卖的日常更显真切——百年前的市井声息，仿佛随纸间淡墨悄悄漫溢，将细碎的生活温度，定格成永恒的帧影。",[7,23,24,81,244,106,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa43589ac3208f2f3ed60b39bff4ec33.jpg",[],{"id":87126,"slug":87127,"title":87128,"dynasty":76,"author":278,"museum":311,"description":87129,"tags":87130,"thumbUrl":87131,"material":699,"size":139,"collection":139,"collections":87132,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215454,"bai-miao-jie-tou-mai-mai-hua-ce-103-yi-ming-215454","白描街头买卖画册-103","这幅白描作品以行云流水般的线条，勾勒出一位街头商贩的鲜活形象。宽袖短衫的褶皱随身形自然舒展，墨线简练却精准捕捉布料质感；短裤赤足的细节，尽显市井生活的质朴底色。斗笠覆顶，檐角轻翘，既遮日晒又添乡野意趣。人物双手捧竹篮，篮中货物虽寥寥几笔，却似裹挟着街头烟火气。他站姿从容，手部微张的姿态传神，仿佛正待主顾问询，眉眼间藏着生活的温厚。画面不施色彩，以极简笔墨定格清代市井一隅，将平凡买卖的日常鲜活凝于素纸。每根线条都藏着对生活的细致观察，让百年前的街头声息似能透过纸页传来，尽显白描以简胜繁的独特韵味。",[7,23,24,81,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ea4f74775c3b018a219e5cd909f016.jpg",[],{"id":87134,"slug":87135,"title":87136,"dynasty":76,"author":278,"museum":311,"description":87137,"tags":87138,"thumbUrl":87139,"material":699,"size":139,"collection":139,"collections":87140,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215452,"bai-miao-jie-tou-mai-mai-hua-ce-105-yi-ming-215452","白描街头买卖画册-105","纤细线条勾勒市井人物的鲜活姿态，一手举物似在吆喝，一手托盘稳持生计。衣纹流转间见笔力细腻灵动，无华设色却以线塑魂，眉眼间的专注藏着街头买卖的烟火气，每道笔触都晕染平凡生活的温热。寥寥几笔凝市井风情于纸上，动静之间，仿佛听见巷陌叫卖声，窥见旧时街头生动一角。笔端的质朴与生动，让寻常生计场景有了直击人心的力量，尽显白描以简胜繁的艺术魅力。",[7,23,24,81,244,106,58253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2daeb41bed3882e574f4fbff762cef.jpg",[],{"id":87142,"slug":87143,"title":87144,"dynasty":76,"author":278,"museum":311,"description":87145,"tags":87146,"thumbUrl":87147,"material":699,"size":139,"collection":139,"collections":87148,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215448,"bai-miao-jie-tou-mai-mai-hua-ce-109-yi-ming-215448","白描街头买卖画册-109","素纸淡墨勾勒出市井旧影。斗笠檐角斜挑着光阴，赤足身影立于木案旁，宽衫短褐的褶皱里藏着风的痕迹。案上纹理如轻波微动，手中动作似与时光私语——是浆洗的日常，还是买卖的温柔？没有浓妆艳抹，仅以洗练线条，便将街头巷尾的烟火气凝于纸上。那些被岁月淡去的寻常片刻，在笔锋流转间苏醒，每一笔都带着生活的温度，让旧时光的气息扑面而来。寻常烟火，最是动人，这简练的白描里，藏着一段被时光珍藏的市井温柔。",[7,23,24,81,244,106,1542,14900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7505d92cc131e00eb57e375d361901e0.jpg",[],{"id":87150,"slug":87151,"title":87152,"dynasty":76,"author":278,"museum":311,"description":87153,"tags":87154,"thumbUrl":87155,"material":699,"size":139,"collection":139,"collections":87156,"showCount":2209,"zanCount":48,"ma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显。无浓墨重彩，却将街头买卖的日常瞬间凝住——那份静待主顾的闲淡，那份器物与人物的和谐，都在素净的画面里漫出烟火气，如同一帧被时光定格的清代市井剪影，鲜活而温暖。线条简练却精准，人物神态从容，衣褶垂坠与竹器质感在墨线轻重间生动呈现，尽显民间生活的真实与鲜活。",[7,23,24,81,244,106,1542,228,70103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce106f6ac08890555be578dee8ce98a.jpg",[],{"id":87278,"slug":87279,"title":87280,"dynasty":76,"author":278,"museum":311,"description":87281,"tags":87282,"thumbUrl":87283,"material":699,"size":139,"collection":139,"collections":87284,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215424,"bai-miao-jie-tou-mai-mai-hua-ce-133-yi-ming-215424","白描街头买卖画册-133","墨线轻描，衣纹流转间见白描的简练功底。戴斗笠的商贩侧身而立，手中物件轮廓虽简却意足，眉眼间的从容神态，恰是旧时街头买卖人的日常模样。没有繁复设色，仅以素笔勾勒，便将市井烟火的鲜活气凝于纸上——斗笠的弧度、衣袂的褶皱、货物的形态，都藏着百年前巷尾的生活温度，似能听见隐约的叫卖声，在极简线条里漾开，成了民俗记忆里生动的一瞥。",[7,244,81,106,63,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57caf8aba14f64fc25e790339cbbfc1f.jpg",[],{"id":87286,"slug":87287,"title":87288,"dynasty":76,"author":278,"museum":311,"description":87289,"tags":87290,"thumbUrl":87291,"material":699,"size":139,"collection":139,"collections":87292,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215422,"bai-miao-jie-tou-mai-mai-hua-ce-135-yi-ming-215422","白描街头买卖画册-135","浅素纸页间，白描线条牵出街头卖茶人的鲜活身影。他衣衫简朴，肩挎长杆倚茶箱，姿态憨实却藏着利落劲儿。茶箱上“同名茶”“雨前拣选”的墨字分明，是旧时商品的质朴注脚。线条简练却精准，衣褶的软韧、眉眼的专注、身板的微倾，皆被素笔捕捉——没有浓彩渲染，仅以清劲线条便勾勒出市井烟火气。笔端下的平凡模样，成了时光里的生动切片：仿佛能听见茶担的轻晃声，嗅到雨前茶的淡香，触到清代街头那份热乎的生活真味。素笔勾勒的不仅是身影，更是藏在寻常烟火里的岁月温度。",[7,76,244,81,106,228,58253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ecb5e8fabb79c52261d415c309b8ecf.jpg",[],{"id":87294,"slug":87295,"title":87296,"dynasty":76,"author":278,"museum":311,"description":87297,"tags":87298,"thumbUrl":87299,"material":699,"size":139,"collection":139,"collections":87300,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215421,"bai-miao-jie-tou-mai-mai-hua-ce-136-yi-ming-215421","白描街头买卖画册-136","线条如行云流水，勾勒出市井间的鲜活一瞬。背负物件者躬身前行，衣褶的曲线似风过浅滩，漾开劳作的肌理；旁侧之人伸手相扶或议价，姿态亲昵自然，烟火气从线条缝隙中漫出。白描以简胜繁，无色彩却胜千色——人物的动态、衣物的褶皱、互动的温度，皆由凝练的笔墨承载。平凡的街头买卖场景，在笔墨间化作可触的温暖，每一道线条都藏着生活的褶皱，每一个神情都映着市井的真意，恰是传统笔墨对人间烟火的温柔定格。",[7,23,24,81,244,106,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba859bbf5815cb80dceef26b896f5c.jpg",[],{"id":87302,"slug":87303,"title":87304,"dynasty":76,"author":278,"museum":311,"description":87305,"tags":87306,"thumbUrl":87307,"material":699,"size":139,"collection":139,"collections":87308,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215420,"bai-miao-jie-tou-mai-mai-hua-ce-137-yi-ming-215420","白描街头买卖画册-137","画面以极简白描勾勒街头小贩的生计日常。线条清劲流畅，寥寥数笔便塑出人物佝偻身姿——肩上木匣沉坠，手中长杆挑着悬垂器物，帽檐下侧脸凝着奔波的疲惫。无浓墨重彩，却在线条转折间藏住市井烟火：杆上晃荡的物件似营生招牌，匣中或许盛着待售零星货品。笔墨省净却道尽人间百味，每道线条皆如时光刻痕，将清代街巷寻常生计凝作永恒帧影，让观者于素纸间触到旧时光里的温热烟火气。",[7,244,81,106,63,14900,58253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535b155215400b9d89687580db0c5d6f.jpg",[],{"id":87310,"slug":87311,"title":87312,"dynasty":76,"author":278,"museum":311,"description":87313,"tags":87314,"thumbUrl":87316,"material":699,"size":139,"collection":139,"collections":87317,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215419,"bai-miao-jie-tou-mai-mai-hua-ce-138-yi-ming-215419","白描街头买卖画册-138","挑担行脚的身影在素纸间鲜活起来。白描线条如行云流水，以洗练笔触勾勒出布衣褶皱的肌理、竹担的柔韧弧度，连筐中货物的轮廓都带着市井烟火的温度。光头男子步态微倾，肩扛扁担的姿态藏着奔波生计的日常，眉眼间无过多渲染，却透着平实坚韧的气息。竹筐一侧似载柴草，一侧裹着货物，极简的勾勒里藏着街头买卖的细碎光景。整幅画如截取旧时光的片段，以素净线条定格人间百态，让观者在简练笔墨中触摸到市井生活的鲜活脉搏，于无声处见生活本真。",[7,23,244,81,106,120,87315],"担篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322c89c0042b628becb2fd281e2d0dce.jpg",[],{"id":87319,"slug":87320,"title":87321,"dynasty":76,"author":278,"museum":311,"description":87322,"tags":87323,"thumbUrl":87324,"material":699,"size":139,"collection":139,"collections":87325,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215418,"bai-miao-jie-tou-mai-mai-hua-ce-139-yi-ming-215418","白描街头买卖画册-139","线条简练却见功力，以白描之法捕捉市井鲜活瞬间。挑担人俯身执瓢的姿态被精准定格，肩扛扁担的弧度里，双桶悬垂的重量与动作的专注感交织。衣褶随身体倾侧自然流转，赤脚沾地的细节更添质朴本真。素笔勾勒间，无浓墨重彩却让街头买卖的烟火气漫出纸面——执瓢的手势、微蹙的眉峰、扁担压肩的弧度，皆是旧时光里最生动的生活切片。简淡线条中藏着人间烟火的温热，平凡身影里映出市井生活的鲜活力量，于无声处诉说着往昔街头的细碎日常。",[7,23,24,81,244,106,14900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7f54628d7f88fa73d41b81472c7304.jpg",[],{"id":87327,"slug":87328,"title":87329,"dynasty":76,"author":278,"museum":311,"description":87330,"tags":87331,"thumbUrl":87332,"material":699,"size":139,"collection":139,"collections":87333,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215417,"bai-miao-jie-tou-mai-mai-hua-ce-140-yi-ming-215417","白描街头买卖画册-140","斗笠覆顶，宽袍短褐，肩挑扁担的身影在白描线条里鲜活起来。墨线勾勒衣褶的起伏、斗笠的圆融，连扁担的沉坠感都藏在线条的轻重转折里。两侧货物——左方捆扎严实的包裹、右垂的布袋与方格物件，皆以简洁线条显其形态，似能窥见内里市井生计的细碎。人物行进步态从容，手臂微屈扶担，每一笔都浸着烟火气，仿佛下一秒便有吆喝声穿纸而出。白描以无彩之笔，凝住街头买卖人的日常瞬间，将平凡生计的鲜活与温暖，刻进墨线交织的方寸间。",[7,23,24,81,244,106,14900,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5e19b35eaae8dcb078bfe7bca8ee77.jpg",[],{"id":87335,"slug":87336,"title":87337,"dynasty":76,"author":278,"museum":311,"description":87338,"tags":87339,"thumbUrl":87340,"material":699,"size":139,"coll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奔走，也能于忙碌间隙寻得片刻悠然。素净笔触未施粉黛，却将清代商贩的鲜活模样定格：那杆上的招牌、手中的扇，都是时光里的市井注脚。没有浓墨重彩，只以清浅线条织就一幅带着温度的生活图景，让百年前的街头烟火，静静流淌在纸面之上。",[7,244,23,24,81,106,228,70103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c257cb398043907c1f347475f96ddc.jpg",[],{"id":87400,"slug":87401,"title":87402,"dynasty":76,"author":278,"museum":311,"description":87403,"tags":87404,"thumbUrl":87405,"material":699,"size":139,"collection":139,"collections":87406,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215406,"bai-miao-jie-tou-mai-mai-hua-ce-150-yi-ming-215406","白描街头买卖画册-150","宽檐斗笠遮去半面天光，长衫褶皱如流水般铺展，手中扇柄轻握，流苏垂落似凝着市井的风。白描线条简劲传神，衣袂转折、鞋履纹路皆藏于墨痕深浅间。人物侧身伫立，似刚歇下肩头行囊，又或正欲开口吆喝。肩上包裹虽无色彩晕染，却因线条勾勒显出货物分量。素净笔触定格市井买卖人的日常瞬间——烟火气随墨线漫开，如旧巷一缕清风，勾连街头巷尾的鲜活从容，让人窥见岁月里的平实暖意。",[7,23,24,81,244,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe61eab578210f661bd485a8d936ead.jpg",[],{"id":87408,"slug":87409,"title":87410,"dynasty":76,"author":278,"museum":311,"description":87411,"tags":87412,"thumbUrl":87413,"material":699,"size":139,"collection":139,"collections":87414,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215405,"bai-miao-jie-tou-mai-mai-hua-ce-152-yi-ming-215405","白描街头买卖画册-152","线条如行云流水，勾勒出赤膊男子的憨朴身影。他坐于长凳间，指尖起落似藏生计的细碎暖意。地上竹笠斜倚、圆筐静卧，寻常器物皆是市井生活的注脚。白描笔法洗练却不失细腻，人物肌理与衣褶皆由利落线条晕染，鲜活情态跃然纸上。这幅画以极简之笔捕捉街头买卖的瞬间，让烟火人间的温热气息，在素净纸页间缓缓流淌，尽显平凡生活的生动与真意。",[7,76,244,81,106,14900,70103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59f89cdd5c6151cc33a70adc9df39e44.jpg",[],{"id":87416,"slug":87417,"title":87418,"dynasty":76,"author":278,"museum":311,"description":87419,"tags":87420,"thumbUrl":87421,"material":699,"size":139,"collection":139,"collections":87422,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215404,"bai-miao-jie-tou-mai-mai-hua-ce-153-yi-ming-215404","白描街头买卖画册-153","素纸轻展，线条牵出百年前市井的烟火余温。斗笠覆顶，短衫宽袂随步轻扬，赤脚沾着尘泥的痕迹，肩挑竹担压出微弯的背脊。一端竹篮隐约盛着待售之物，一端垂落的绳环似静候捆扎，步态从容里藏着生计的平实。白描笔法简练却传神，衣褶流转如溪涧行波，人物神情淡然，无艳色渲染却将买卖人的日常态捕捉得入木三分。极简笔致凝住市井小民的片段，每根线条都牵着人间本真——没有宏大叙事，只有最朴素的生活剪影，让百年前的街头身影仿佛仍在眼前彳亍，藏着最鲜活的人间味道。",[7,244,81,106,70103,1542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F974aae0b50b42c19e427bb1a78fc40a0.jpg",[],{"id":87424,"slug":87425,"title":87426,"dynasty":76,"author":278,"museum":311,"description":87427,"tags":87428,"thumbUrl":87429,"material":699,"size":139,"collection":139,"collections":87430,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215400,"bai-miao-jie-tou-mai-mai-hua-ce-156-yi-ming-215400","白描街头买卖画册-156","墨线轻勾，晕染出市井里的鲜活片段。老者躬身持镜，眉眼间凝着专注的暖意，衣袂褶皱随体态婉转，线条简练却藏风骨。旁侧摊架上，瓶罐与托盘小物错落，笔锋精准描摹器物质感，无设色却见生活本真。白描技法以简胜繁，将街头买卖的寻常温情凝于纸间，每一道线条都似在低语俗世烟火的生动，是对日常瞬间的细腻观照，也尽显传统笔墨捕捉生活意趣的传神功力。寻常场景里藏着的人间烟火，经此笔端，便成了可触可感的岁月温度。",[7,23,24,81,244,106,228,14900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7828a11df1ee905deaf9f9edbc0b64e3.jpg",[],{"id":87432,"slug":87433,"title":87434,"dynasty":76,"author":278,"museum":311,"description":87435,"tags":87436,"thumbUrl":87437,"material":699,"size":139,"collection":139,"collections":87438,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215398,"bai-miao-jie-tou-mai-mai-hua-ce-158-yi-ming-215398","白描街头买卖画册-158","墨线轻扫，便牵出一段市井旧影。挑担人赤脚立于纸面，衣袂随身形舒展，线条流畅如行云，勾出布衣褶皱与奔波姿态。肩上扁担横斜，两端挂着竹编器与格箱，器物纹理以细墨勾勒，简而不失真。右上角题字似吆喝注脚，添了几分生活温度。\n\n白描手法洗练传神，无浓墨重彩，却将街头商贩的生计日常刻入肌理——微倾的肩头、紧绷的手臂，藏着旧时光里鲜活的烟火。寥寥数笔不追华丽，只以素净线条托出民生本真，让观者于简淡中触碰到清代市井的温热脉搏，窥见平凡日子里的踏实与生动。",[7,244,81,106,14900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0692271c389e0b80e616bd57c45cc709.jpg",[],{"id":87440,"slug":87441,"title":87442,"dynasty":76,"author":278,"museum":311,"description":87443,"tags":87444,"thumbUrl":87445,"material":699,"size":139,"collection":139,"collections":87446,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215397,"bai-miao-jie-tou-mai-mai-hua-ce-161-yi-ming-215397","白描街头买卖画册-161","线条简练流畅，如行云流水般勾勒出街头牙科郎中的鲜活身影。头戴软巾，身着素袍，腰间系带，步履间透着走街串巷的从容。肩上横担的工具杆一端悬布旗，“西洋楷牙虫”五字清晰，显露出当时行业的独特印记——或许是引入了外来治牙技法？人物一手扶杆，神情平和，似正待寻主顾。衣褶褶皱、工具轮廓皆以白描精准呈现，无多余渲染却细节毕现。整幅画以朴素笔墨定格市井一角，藏着旧时街头烟火气与行业风貌，为后人窥见平民生活与医疗行当图景，留下生动注脚。",[7,76,244,106,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06db466fbf7aa24ff37eade79c8c5e29.jpg",[],{"id":87448,"slug":87449,"title":87450,"dynasty":76,"author":278,"museum":311,"description":87451,"tags":87452,"thumbUrl":87453,"material":699,"size":139,"collection":139,"collections":87454,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215392,"bai-miao-jie-tou-mai-mai-hua-ce-164-yi-ming-215392","白描街头买卖画册-164","墨线婉转勾勒市井贩夫的生计图景。肩挑竹担，两头筐篓盛着待售之物，臂弯弧度凝着奔波日常，赤脚沾尘的细节，是街头买卖最生动的注脚。竹编纹理纤毫毕现，人物姿态憨朴自然，每一笔线条都缠裹着烟火气——那是旧时光里巷陌间的热闹，是寻常百姓讨生活的温暖印记。白描素净却藏着真切人间，百年前的市井场景，便在纸页间鲜活如初，让观者触碰到旧岁里的烟火余温。",[7,244,81,106,228,14900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1ca5a86244ef7836d0036c51de407e.jpg",[],{"id":87456,"slug":87457,"title":87458,"dynasty":76,"author":278,"museum":311,"description":87459,"tags":87460,"thumbUrl":87461,"material":699,"size":139,"collection":139,"collections":87462,"showCount":2209,"z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，似是营生之具，却在白描的素雅里，少了尘嚣，多了几分悠然。线条或疾或缓，勾勒出人物缓步的姿态，衣角似有风动，生动传神。寻常街头买卖的光景，经此简笔点染，竟成静穆诗意。无华彩浓墨，仅以线为骨，便将人物神态与生活气息凝于纸上，尽显白描技法的雅致与生命力。",[7,23,24,81,244,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5217a0c2d65b53b769385656af3c3bd9.jpg",[],{"id":88074,"slug":88075,"title":88076,"dynasty":76,"author":278,"museum":311,"description":88077,"tags":88078,"thumbUrl":88079,"material":699,"size":139,"collection":139,"collections":88080,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215296,"bai-miao-jie-tou-mai-mai-hua-ce-261-yi-ming-215296","白描街头买卖画册-261","清隽白描勾勒出街头卖字人的身影，线条洗练却精准传神。头戴斗笠的卖字者素袍裹身，肩背竹制笔架，手中展着墨迹隐约的卷轴。他静立街头，姿态从容，眉宇间藏着文人气，却又与市井烟火相融。卷轴上的字迹依稀可见，细节处见画师用心。极简笔触捕捉了清代文人谋生的日常，白描的含蓄力道里，藏着平凡生活的人文温度。一段消逝的市井图景，在寥寥数笔中鲜活起来，仿佛能听见当年街头的轻语，触到卷上的墨香余温。",[7,23,24,81,244,106,63,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afaf628163e69b933eb23e7b34f9bc2.jpg",[],{"id":88082,"slug":88083,"title":88084,"dynasty":76,"author":278,"museum":311,"description":88085,"tags":88086,"thumbUrl":88087,"material":699,"size":139,"collection":139,"collections":88088,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215295,"bai-miao-jie-tou-mai-mai-hua-ce-262-yi-ming-215295","白描街头买卖画册-262","线条是旧时光的低语者。挑担商贩的身影在素净纸页上鲜活起来：扁担横肩的弧度藏着街头奔波的节奏，衣袂褶皱如流云舒展，步履间透着从容。一头竹笼里，鸭子探头张望的憨态被精准勾勒，羽翼的细绒似能触到；另一头布袋轻晃，似载着待售的细碎暖意。白描笔触不施粉黛，却以极简之力捕捉市井烟火——仿佛能听见他的吆喝声漫过巷弄，竹笼晃动的轻响，还有那些平凡日子里的鲜活气息，随线条起伏缓缓流淌。每一笔都带着温度，将街头买卖的日常，凝作可触可感的生活剪影。",[7,244,81,106,47337,27236,925,58253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4200964650fc8a1cab1e3b3a2d8cc2.jpg",[],{"id":88090,"slug":88091,"title":88092,"dynasty":76,"author":278,"museum":311,"description":88093,"tags":88094,"thumbUrl":88095,"material":699,"size":139,"collection":139,"collections":88096,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215294,"bai-miao-jie-tou-mai-mai-hua-ce-263-yi-ming-215294","白描街头买卖画册-263","斗笠遮去半张脸，杖头悬着的碗沿似还留着热汤余温。衣纹线条随弯腰姿态轻颤，粗布肌理在墨线疏密里渐显质感。犬爪搭向木架，尾尖扫过尘泥，仿佛能听见它鼻尖轻嗅的细碎声响。\n\n无浓墨重彩，仅以素线勾勒市井鲜活：斗笠弧度、裤脚褶皱、木架横斜，每一笔都钉住街头营生的瞬间——是风掀衣角的轻响，还是人与犬间无声的默契？白描妙处正在此，以最简的笔载最重的生活，让素纸之上永远留着那个时代街头的烟火与呼吸。",[7,244,81,106,228,58253,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ceef3d0bf5e2d55f9bbd1efa02cf36.jpg",[],{"id":88098,"slug":88099,"title":88100,"dynasty":76,"author":278,"museum":311,"description":88101,"tags":88102,"thumbUrl":88103,"material":699,"size":139,"collection":139,"collections":88104,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215293,"bai-miao-jie-tou-mai-mai-hua-ce-264-yi-ming-215293","白描街头买卖画册-264","晨光漫过街头一隅，人物俯身忙碌，指尖起落间分拣颗粒状货物，大盆小桶错落排布，摊开的木板上满是待理的食材。白描线条如行云流水，简练却传神——衣褶随动作舒展，器物轮廓清晰，连盆沿纹理都透着质朴质感。没有浓墨重彩，却以素净笔触定格市井烟火的温度：每一笔藏着平凡日子的认真鲜活，仿佛能听见器物轻响，窥见买卖前的细碎准备，满是人间烟火的真切滋味，将街头劳作的日常，化作纸上生动的时光切片。",[7,23,24,81,244,106,228,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6222835fd4854d5d3f0a38540dc900c3.jpg",[],{"id":88106,"slug":88107,"title":88108,"dynasty":76,"author":278,"museum":311,"description":88109,"tags":88110,"thumbUrl":88111,"material":699,"size":139,"collection":139,"collections":88112,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215292,"bai-miao-jie-tou-mai-mai-hua-ce-265-yi-ming-215292","白描街头买卖画册-265","素笔勾勒的市井劳作图景里，赤膊男子弓身沉腰，双臂攥紧长杆，发力间肌理绷紧如老树盘根。木架横陈，原木静待雕琢，工具的棱角与木材的纹理在简练线条中清晰可辨。白描的克制恰成妙处，没有艳色渲染，却以刚柔相济的笔触，将劳动者的专注与生计的实感揉进每一道线条里。仿佛能听见木屑簌簌落地的轻响，看见汗水在肌理上晕开的微光，这是街头烟火里最生动的切片，藏着平凡日子里的力量与温度。",[7,244,81,106,13069,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71267babbb82ee8a981b1807605bd67.jpg",[],{"id":88114,"slug":88115,"title":88116,"dynasty":76,"author":278,"museum":311,"description":88117,"tags":88118,"thumbUrl":88119,"material":699,"size":139,"collection":139,"collections":88120,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215291,"bai-miao-jie-tou-mai-mai-hua-ce-266-yi-ming-215291","白描街头买卖画册-266","白描线条行云流水，勾勒出街头买卖人的鲜活模样。斗笠斜覆，渔网易扛于肩，赤脚踏过巷陌的尘，衣袂随步履轻扬。网眼疏密间织进市井的细碎光，手中物件裹着生计的暖。人物眉眼从容，每道衣褶都浸着烟火气，将清代街头的日常定格成帧。素笔无华，却让旧时光里的鲜活扑面而来——似能听见巷尾的吆喝，触到风里的生活温度，窥见市井深处的生动剪影。",[7,244,81,106,1542,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9f276f289d2d564e65e5dc97aaa2a6.jpg",[],{"id":88122,"slug":88123,"title":88124,"dynasty":76,"author":278,"museum":311,"description":88125,"tags":88126,"thumbUrl":88127,"material":699,"size":139,"collection":139,"collections":88128,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":94},215290,"bai-miao-jie-tou-mai-mai-hua-ce-267-yi-ming-215290","白描街头买卖画册-267","素笺之上，白描线条如缕，织就市井烟火气。斗笠压肩，短衫裹身，赤足的小贩肩扛饰纹长杆，手提器物竹篮，身影里藏着街头买卖的细碎日常。笔线简练却见筋骨，衣褶随步履轻扬，眉眼间的朴实漫出纸页。无浓墨渲染，仅以线条疏密深浅，便将旧时小贩模样鲜活铺展：那是巷陌流动的暖，是烟火升腾处的真，素净画面凝住清代市井鲜活气息，似能听见叫卖声穿巷而来，在纸页间静静回响。",[7,244,81,106,58253,228,14900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372f7b33126cfe1a389107c1dee99650.jpg",[],{"id":88130,"slug":88131,"title":88132,"dynasty":76,"author":278,"museum":311,"description":88133,"tags":88134,"thumbUrl":88135,"material":699,"size":139,"collection":139,"collections":88136,"showCount":2209,"zanCount":48,"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），字原博，号匏庵、玉亭主，世称匏庵先生。直隶长州（今江苏苏州）人。明代名臣、诗人、散文家、书法家。\n吴宽为明宪宗成化八年（1472年）状元，授翰林修撰，曾侍奉孝宗读书。孝宗即位，迁左庶子，预修《宪宗实录》，进少詹事兼侍读学士。官至礼部尚书，卒赠太子太保，谥号“文定”。\n吴宽的诗深厚醲郁，自成一家，著有《匏庵集》。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。\n吴宽生于明宣宗宣德十年（1435）。他成年后，以文章及品行闻名于诸生之中。明宪宗成化八年（1472年），吴宽在会试、廷试中均获第一，为明朝苏州第二位状元。后任翰林院修撰。曾侍皇太子朱佑樘，秩满进宫为右谕德。\n成化二十三年（1487）宪宗驾崩，皇太子朱祐樘即位，是为孝宗。吴宽以东宫旧僚身份，迁左庶子，参与修撰《宪宗实录》，进少詹事兼侍读学士。\n弘治八年（1495年），升任吏部右侍郞。适逢继母去世，吴宽守孝归家。吏部缺员，孝宗命虚位待之，待吴宽守丧三年，让其掌詹事府事，入直东阁，专典诰敕，并侍从皇太子朱厚照。\n宦官大多不愿让太子接近儒臣，多次用他事间断讲读。吴宽率领僚属上疏说：“东宫讲学，寒、暑及风雨天就停讲，每月初一、十五和节日停讲，讲学一年不过数月，一月不过数日，一日不过数刻。是进讲的时间少，停讲的日子多，怎能容许又借其他事妨碍讲学。古人八岁时就随师学习，居宿于外，是想他远离不好的环境亲近君子。百姓尚且如此，况且是天下之本的太子呢？”孝宗赞许并接纳了他的意见。\n弘治十六年（1503年），吴宽升任礼部尚书，仍掌詹事府事。他是当时文学侍从之臣中声望最高的一位。另一位状元谢迁进入内阁后，曾经建议引吴宽入阁参与机务，但遭到另一位阁臣刘健的反对。一次，谢迁又说：“吴公的科第、年岁、声望都超过我，我实在是自愧不如，哪是寄情于吴公呢？”到谢迁引退时，举荐吴宽接替自己，其建议仍未被采用。朝内外都为吴宽惋惜，但吴宽很是坦然，说道：“我一开始就没有入阁的念头。”\n孝庄钱太后去世时，朝臣商议将来孝肃周太后去世，与钱太后一同合葬到明英宗的裕陵中，将灵位纎享到太庙中英宗的庙室里，享受原配待遇。弘治十七年（1504年），孝肃周太后去世，准备纎享太庙，孝宗却认为将英宗周贵妃（周太后）与英宗钱皇后一同祔享太庙不合适，要求礼官重新讨论。吴宽说《诗经·鲁颂》中的《閟宫》篇以及《春秋》记载的仲子之宫都是另建一神庙，认为汉、唐也是依照此例。正好朝臣大多也主张周太后纎享别庙，孝宗允准。\n吴宽七十岁时，多次因病请辞，都被慰留，后于弘治十七年（1504年）七月十日（8月19日） 卒于礼部尚书任上。孝宗闻讯后，派官治丧，加祭二坛。追赠太子太保，谥号“文定” 。葬于木渎西花园山。孝宗破格封赠了他的两个儿子，授长子吴奭为中书舍人，补次子吴奂为国子生。\n吴宽操行高洁，不受外界的评价所干扰，对自身严格要求。他对于书籍涉猎广泛，善诗能书。他有几顷田，曾用以救济亲友中的贫困者。友人贺恩患病后，吴宽将他接到家里照顾，日夜探视。贺恩病逝后，吴宽为他服丧达一月之久。\n吴宽少壮时好学，于书无所不读，尤喜《左传》《汉书》以及唐宋大家的散文，最喜苏轼文章。他学有根底，诗文和平恬雅，有典则。《明诗评》说：“文定力扫浮靡，一归雅淡，诗如杨柳受风，煦然不冽；又如学究论天下事，亹亹竟日，本色自露。”代表作有七律《悼沈癯樵画史》《题杨铁崖墓铭后》《送张兼素出知施宗州》《谢顾良弼李世贤携酒过访》等，七古有《赋黄楼送李贞伯》等。诗文集有《家藏集》77卷，其中诗30卷，文40卷，为吴宽自订。后7卷疑为其子所增益。\n吴宽工书法 [13] ，善写真、行、草书，尤工行书，源出自苏东坡，为尊其人而爱其艺，故其书法师承东坡笔意。吴宽《跋黄庭坚“诸上座帖”》云：昔东坡见山谷草书，从旁称叹。钱穆父独惜，以为未见怀素真迹。后山谷见《自叙帖》，书法遂觉顿异。不审此卷作时是尝见耶，抑或未见耶？职方公深于书者，藏此必能辨之。\n书法家邢侗在《来禽馆帖》中曾说：“匏翁吴中前辈，行谊擅绝，不直文翰之工尔也。书法法苏学士，浓颜厚面，祛去吴习。” 吴宽学习的是苏东坡“端庄淳朴，凝重厚实”的书风，而一反当时吴中盛行的“纤巧媚美”风格。 吴宽学习苏书，以摹手追，神形兼善，更可贵的是其笔法能出新意。因此，王鏊说他“作书姿润时出奇倔，虽规模于苏而多自得。”（《震泽集》卷二）这是他能高于同时代一般书法家之所在。对稍后步入书坛的书法家祝允明、文征明等人，起到了开路先锋的作用。\n吴宽有时也作草书，喜用狂草体。他常临摹唐代著名书法家怀素和尚的《自叙帖》，几乎到乱真的境地。吴宽的传世书迹较多，如《种竹诗卷》、《题赵孟頫重江迭嶂图诗》等都是精品。《种竹诗卷》，书于弘治七年（1494），时年60余岁。纸本墨迹。行书，长卷。纵28.2厘米，横582.6厘米。上海博物馆藏。米芾书法墨拓《韩昌黎诗录三章》卷首有吴宽题跋，语曰：“昔人云米海岳书如风吹阵马，观其沉着痛快，当与钟王并行，非虚语也。”成化二年立秋日，延陵吴宽。印文：吴宽（与中国书画家印鉴款识相符）成化二年（1466年、丙戌），吴宽时年31岁，延陵镇为江苏丹阳县所属，进士录中吴宽户籍为“匠籍”，可能由中进士前的延陵（丹阳）迁到苏州。\n吴宽喜藏书，和藏书家沈周、王鏊等交游颇深，藏书以抄本多见，其抄本用红印格抄写，以私印记之。时吴中藏书家多以密册珍籍相夸尚，如朱存理、阎起山、都穆辈皆仿其抄本。抄书笔法绝伦，叶德辉称“自明以来，藏家最珍并争藏之本，首列吴抄”。《静志居诗话》云：“是时吴中藏书家多以秘册相尚，若朱性甫、吴原博、闫秀卿、都玄敬辈皆手自抄录。匏庵遗书流传者悉公手录，以私印记之，前辈风流，不可及也。”所藏抄本《嵇康集》10卷，有顾广圻、张燕昌题跋各一则，黄不烈（署荛翁、复翁）题跋三则。在京为官一品，获赐有《贞观政要》等书。藏书楼名“丛书堂”，《丛书堂书目》1卷，今已佚。预修有《宪宗实录》。著有《家藏集》77卷。",[7,99,1352,86,178,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c533997c02fc2b12e843fe75a20707.jpg",[],{"id":91031,"slug":91032,"title":91033,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":91034,"thumbUrl":91035,"material":712,"size":21458,"collection":139,"collections":91036,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":6721},222273,"nan-hua-zhen-jing-26-wang-chong-222273","南华真经26",[7,24,86,621,8606,699,2547,5153,5152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84c12647fec6be8b251d9ec493083c3.jpg",[],{"id":91038,"slug":91039,"title":91040,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":91041,"thumbUrl":91042,"material":712,"size":21458,"collection":139,"collections":91043,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":6721},222272,"nan-hua-zhen-jing-25-wang-chong-222272","南华真经25",[7,86,621,8606,5152,699,8289,4850,61051,2403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc660ee1de7a95d07d8bfecb910e955e.jpg",[],{"id":91045,"slug":91046,"title":91047,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":91048,"thumbUrl":91049,"material":712,"size":21458,"collection":139,"collections":91050,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":6721},222271,"nan-hua-zhen-jing-24-wang-chong-222271","南华真经24",[7,24,86,5152,621,173,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e5cd7f39d4e035d1f7add24237b488d.jpg",[],{"id":91052,"slug":91053,"title":91054,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":91055,"thumbUrl":91056,"material":712,"size":21458,"collection":139,"collections":91057,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":6721},222270,"nan-hua-zhen-jing-23-wang-chong-222270","南华真经23",[7,86,24,5152,621,173,5153,8606,8289,61051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5546c2e2dad25be14075f1957dff60a.jpg",[],{"id":91059,"slug":91060,"title":91061,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":91062,"thumbUrl":91063,"material":712,"size":21458,"collection":139,"collections":91064,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":6721},222269,"nan-hua-zhen-jing-22-wang-chong-222269","南华真经22",[7,24,86,5152,8606,173,699,939,4850,8289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2adbb791f1aaa88357eb2b1fa9f84775.jpg",[],{"id":91066,"slug":91067,"title":91068,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":91069,"thumbUrl":91070,"material":712,"size":21458,"collection":139,"collections":91071,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":6721},222268,"nan-hua-zhen-jing-21-wang-chong-222268","南华真经21",[7,24,86,178,5152,173,81,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edfdc3709a13b97cdeb45b7d6c4ab40.jpg",[],{"id":91073,"slug":91074,"title":91075,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":91076,"thumbUrl":91077,"material":712,"size":21458,"collection":139,"collections":91078,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":6721},222267,"nan-hua-zhen-jing-20-wang-chong-222267","南华真经20",[7,86,178,5152,4850,37433,5153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9d9945f7e9b533d5a71c3d4e3ff8a1.jpg",[],{"id":91080,"slug":91081,"title":91082,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":91083,"thumbUrl":91088,"material":712,"size":21458,"collection":139,"collections":91089,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},222266,"nan-hua-zhen-jing-19-wang-chong-222266","南华真经19",[7,86,5152,621,8606,173,699,2403,85738,61053,91084,91085,91086,91087],"墨色均匀","笔法细腻","结体端稳","章法严谨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72a63e58cf8e923937ada50d3324d425.jpg",[],{"id":91091,"slug":91092,"title":91093,"dynasty":99,"author":16327,"museum":9370,"description":21455,"tags":91094,"thumbUrl":91095,"material":712,"size":21458,"collection":139,"collections":91096,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":6721},222265,"nan-hua-zhen-jing-18-wang-chong-222265","南华真经18",[7,86,8606,178,5152,173,24,5153,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd34391f7d7a71ce925449b76deb4397.jpg",[],{"id":91098,"slug":910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域文化密码。它似一扇窗，让观者窥见往昔民族交往的鲜活图景，于色彩线条间，承载多元文化交融的印记。",[7,23,24,81,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616e4b33ed9a8227f1064db142fdecc8.jpg",[],{"id":93364,"slug":93365,"title":93366,"dynasty":76,"author":278,"museum":311,"description":93367,"tags":93368,"thumbUrl":93369,"material":123,"size":139,"collection":139,"collections":93370,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216048,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-33-yi-ming-216048","职贡图巨幅彩绘册页第3册-33","画面分左右绘两人，左者着浅褐长袍，头戴蓝帽，衣袂宽博，神态温雅沉静；右者裹巾持杖，短褐束蓝带，足蹬皮靴，尽显质朴悍勇之态。线条勾勒简练传神，衣纹褶皱流畅自然，设色淡雅温润，人物姿态鲜活生动。此作以具象笔触记录不同族群风貌，既显绘画技法的细腻写实，又暗藏清代多民族交往的历史图景，于方寸间见文化交融之态，是兼具艺术审美与历史价值的佳作。",[7,23,24,81,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963056c45f2a39c9e2008f10d3c0df21.jpg",[],{"id":93372,"slug":93373,"title":93374,"dynasty":76,"author":278,"museum":311,"description":93375,"tags":93376,"thumbUrl":93377,"material":123,"size":139,"collection":139,"collections":93378,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216047,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-34-yi-ming-216047","职贡图巨幅彩绘册页第3册-34","画面展呈两位边地人物风貌。左侧人物绿衫缀红领，粉紫长裙随步轻扬，赤足踏地，发梢自然垂落，神态温婉平和；右侧人物蓝袍束腰，红巾裹头，紫裳及膝，腰间红绦摇曳，面容带着朴拙的山野之气，赤足而立身姿稳健。画作以细腻线条勾勒衣褶肌理，设色清雅明快，人物姿态鲜活传神，于简淡笔墨中捕捉族群衣着与神情特质。虽无繁复布景，却以具象形象再现特定族群的生活风貌，是窥见清代边地文化交流与族群特征的鲜活载体，笔墨间藏着对异域风情的细致体察，让久远的族群形象跃然纸上，留存着历史的生动印记。",[7,315,23,24,81,27,28,106,63,8041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cddb9a660a7696fcdbd1738188e168.jpg",[],{"id":93380,"slug":93381,"title":93382,"dynasty":76,"author":278,"museum":311,"description":93383,"tags":93384,"thumbUrl":93385,"material":123,"size":139,"collection":139,"collections":93386,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216046,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-32-yi-ming-216046","职贡图巨幅彩绘册页第3册-32","这幅彩绘页中，人物形象鲜活生动：一侧红衣长袍纹饰细腻，尽显端庄；另一侧黄衣织锦缀满花纹，华贵别致。笔墨勾勒精准，色彩明丽和谐，将边疆民族的服饰特色与精神风貌淋漓展现。旁列的文字详载其族属与风俗，图文相辅，为清代民族交流与边疆治理留下直观的视觉见证。画作以匠心独运的艺术表达，承载丰富历史文化内涵，成为后人窥探那个时代民族图景的珍贵窗口。每一处细节都似在诉说过往，让尘封的民族记忆在笔墨间缓缓苏醒。",[7,315,81,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470515692f6839e69f690cdaf7f52e1a.jpg",[],{"id":93388,"slug":93389,"title":93390,"dynasty":76,"author":278,"museum":311,"description":93391,"tags":93392,"thumbUrl":93393,"material":123,"size":139,"collection":139,"collections":93394,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216045,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-36-yi-ming-216045","职贡图巨幅彩绘册页第3册-36","笔墨端雅匀整，墨色清润，尽显清代书风之规整雍容。文字勾勒万国梯航、翼戴亲朝的盛景，与职贡图所绘外邦朝贡景象呼应，传递天朝怀柔远人、四海归一的意涵。书页文字既是书法艺术的呈现，亦承载清代对外交流的历史印记，笔墨间流淌庄重气度，为职贡图册添注深厚文化底蕴与历史重量。",[7,23,24,81,27,86,621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf860c5a31f144b9316f204dc8b11a22.jpg",[],{"id":93396,"slug":93397,"title":93398,"dynasty":76,"author":278,"museum":311,"description":93399,"tags":93400,"thumbUrl":93401,"material":123,"size":139,"collection":139,"collections":93402,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216044,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-38-yi-ming-216044","职贡图巨幅彩绘册页第3册-38","彩绘笔触如细流，勾勒出朝贡者的鲜活模样——服饰纹样似地域勋章，手中贡物藏着远方故事。神态或谦或朴，眉眼间流转跨山越海的风尘，却又带着对礼仪的敬重。设色温润如午后绢上的阳光，线条既有法度又含柔意，将族群差异与交流温情融于一纸。静帧之中，仿佛能听见驼铃轻响，看见礼官相迎，为那段多元共生的岁月，留下可触的温度与生动注脚。",[7,23,24,81,27,106,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2df1b040df57ab45125cd41e8da776a0.jpg",[],{"id":93404,"slug":93405,"title":93406,"dynasty":76,"author":278,"museum":311,"description":93407,"tags":93408,"thumbUrl":93409,"material":123,"size":139,"collection":139,"collections":93410,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216043,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-37-yi-ming-216043","职贡图巨幅彩绘册页第3册-37","遒劲笔触勾勒端稳结体，沉厚墨色晕染庄重气韵。笔墨流转间，四方来朝的盛景如在眼前——远人赴玉府、万国奉玉帛，天朝威仪与四海宾服的气象尽藏字里行间。两页对开的册页布局疏朗有致，书法之美与历史厚重交相辉映，仿佛透过纸页窥见昔日邦交繁华，实为艺术与历史交融的珍贵遗存。",[7,23,24,81,27,106,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2f28834ac33700f2fdd230ab69326a2.jpg",[],{"id":93412,"slug":93413,"title":93414,"dynasty":76,"author":278,"museum":311,"description":93415,"tags":93416,"thumbUrl":93417,"material":123,"size":139,"collection":139,"collections":93418,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216034,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-12-yi-ming-216034","职贡图巨幅彩绘册页第4册-12","画面展呈两位异域风貌人物，左侧身着明黄上衣配靛蓝百褶长裙，黑帽压鬓，肩披蓬松毛皮，裙裾轻摆间足踏软靴，神态温婉；右侧男子一袭墨色短褐，靛蓝裤脚束于白布裹腿，同款毛皮披肩衬得身形魁梧，手中持物似在沉思。设色淡雅却层次分明，蓝黄撞色鲜活不跳脱，毛皮蓬松质感与衣料垂坠感皆由细腻线条勾勒。画作以写实笔触捕捉族群服饰特征，兼具艺术装饰性与对边疆风物的细致观察，为研究当时族群文化留存生动视觉注脚。",[7,315,81,27,28,106,63,8041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2645a3dc5cf6491a673c46a2820b8b.jpg",[],{"id":93420,"slug":93421,"title":93422,"dynasty":76,"author":278,"museum":311,"description":93423,"tags":93424,"thumbUrl":93425,"material":123,"size":139,"collection":139,"collections":93426,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216033,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-6-yi-ming-216033","职贡图巨幅彩绘册页第4册-6","画面分左右两帧，各绘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衣饰纹样质朴灵动，尽显族群特色。近景小榻与玩物似是嬉闹角落，暖褐底色衬着婉转线条，将亲昵互动与烟火气息凝于尺幅。人物神态鲜活，动态自然，仿佛嬉闹声穿纸而来，让这份日常的生动成为时光里的温柔印记。",[7,23,27,81,106,28,63,2950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc126a081efde6bbe0b4c519f672f31af.jpg",[],{"id":93552,"slug":93553,"title":93554,"dynasty":76,"author":278,"museum":311,"description":93555,"tags":93556,"thumbUrl":93557,"material":88,"size":36362,"collection":139,"collections":93558,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215819,"miao-zu-yao-zu-sheng-huo-tu-ce-30-yi-ming-215819","苗族瑶族生活图册-30","画面定格了少数民族日常劳作的鲜活瞬间。两位女子身着彩边纹饰的裙装，侧首低语间衣袂轻垂，裙摆褶皱与织物纹理细腻可感；另一侧，两位男子着编织质感短装，一人蹲身专注于木盆中物事，手持小具动作娴熟，另一人持长杆而立，神态平和。温润色调下，简练线条精准勾勒人物神情与服饰特征，将质朴的生活场景凝练成画，尽显民族生活的意趣与人文温度。",[7,23,27,28,106,436,2508,228,2950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d21c88a2fc198e14dd6aa8f4a76f10b.jpg",[],{"id":93560,"slug":93561,"title":93562,"dynasty":76,"author":278,"museum":311,"description":93563,"tags":93564,"thumbUrl":93565,"material":88,"size":36362,"collection":139,"collections":93566,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215816,"miao-zu-yao-zu-sheng-huo-tu-ce-26-yi-ming-215816","苗族瑶族生活图册-26","画面铺展质朴生活片段：身着短衣、饰有彩纹的人们环伺牛身，一人俯身持器喂饮，一人斜倚牛背似叙家常，另有二人持物立侧，姿态松弛自然。牛的憨态与人物从容相映，衣袂纹饰暗合民族风情，每处肢体语言都浸着日常温煦。浅褐底色衬出鲜活，笔墨简淡却将山野生活气息勾勒真切，仿佛能听见人与牛的低语，触到那份未经雕琢的烟火暖意，尽显边地族群的生活本真。",[7,23,27,81,28,106,151,86675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80e8c5b6fcdff89ba5fae01f9452b085.jpg",[],{"id":93568,"slug":93569,"title":93570,"dynasty":76,"author":278,"museum":311,"description":93571,"tags":93572,"thumbUrl":93573,"material":88,"size":36362,"collection":139,"collections":93574,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215815,"miao-zu-yao-zu-sheng-huo-tu-ce-31-yi-ming-215815","苗族瑶族生活图册-31","身着民族服饰的人们，在古朴的画面里铺展一段鲜活日常。老者端着圆盘缓步而立，脸上的纹路藏着岁月的温厚；旁侧几人围聚，或低语浅笑，或相互依偎，衣袍上的斑斓纹饰与素朴底色相映，晕开生活的暖意。婉转的线条勾勒出人物神态与衣褶层次，淡润的色彩晕染出古朴氛围，将少数民族邻里间的亲昵瞬间定格。似能听见轻声问候，触到质朴烟火气，窥得一段鲜活的民族生活剪影，藏着不加修饰的人间温情。",[7,23,24,81,28,27,106,63,86675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fbb334a8f3034055f888d494efeb426.jpg",[],{"id":93576,"slug":93577,"title":93578,"dynasty":76,"author":278,"museum":311,"description":93579,"tags":93580,"thumbUrl":93581,"material":88,"size":36362,"collection":139,"collections":93582,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215814,"miao-zu-yao-zu-sheng-huo-tu-ce-33-yi-ming-215814","苗族瑶族生活图册-33","画面铺展着山野间的鲜活日常。衣衫沾着泥土气息，腰间蓝带与裙摆纹饰藏着族群印记；持网的手稳握竹柄，背篓的肩压着生活重量，孩童探头的模样添了几分天真。这不是刻意雕琢的仪式，是劳作间隙的自然流露——脚步踏过田埂，笑语散在风里，每一处衣褶都裹着烟火气。笔墨虽简，却把族群的坚韧与鲜活凝在纸间，让百年前的山野生活有了可触的温度。那些被时光沉淀的日常碎片，在素纸上慢慢苏醒，成了连接过去与现在的温柔纽带。",[7,23,27,106,228,28,81,81409,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4a9f9701e6123243785d9f34628293.jpg",[],{"id":93584,"slug":93585,"title":93586,"dynasty":76,"author":278,"museum":311,"description":93587,"tags":93588,"thumbUrl":93589,"material":88,"size":36362,"collection":139,"collections":93590,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215812,"miao-zu-yao-zu-sheng-huo-tu-ce-34-yi-ming-215812","苗族瑶族生活图册-34","画面中四人姿态鲜活，或挥棍作势，或侧身呼应，或弯腰提步，动作间藏着生活的鲜活气。古拙发髻挽住青丝，衣襟下摆随步履轻扬，绑腿裹踝踏地稳健。背筐者肩头篓影沉沉，似载着山间新采的蔬果；挥棍人手臂弧度舒展，若有嬉戏的意趣流转。色调古朴温润，衣袂色彩虽淡却层次分明，人物间的互动感如微风拂过，将民族生活里的质朴与鲜活，悄悄铺展在纸面之上。每一处细节都透着对日常的细腻捕捉，仿佛能听见林间的轻语，看见山野里的烟火气在画面中缓缓流动。",[7,23,315,81,27,28,106,2950,63,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0b400ccbd79b676ae91ceb2a650e17b.jpg",[],{"id":93592,"slug":93593,"title":93594,"dynasty":76,"author":278,"museum":311,"description":93595,"tags":93596,"thumbUrl":93597,"material":88,"size":36362,"collection":139,"collections":93598,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215810,"miao-zu-yao-zu-sheng-huo-tu-ce-35-yi-ming-215810","苗族瑶族生活图册-35","绢素上的笔触带着质朴的温度，将族群日常的烟火徐徐铺展。或许是檐下悬垂的蜡染布随风轻晃，衣袂间银饰的细碎光泽似落了星子；或许是田间劳作的身影弯成稻浪里的弧，竹篮里的山果还沾着晨露；又或是火塘边老妪执针的手，把经纬间的纹样织成族群的记忆。没有刻意雕琢的技法，却藏着山野的呼吸与生活的肌理。每一处线条都像在低语：那些被时光沉淀的民俗与日常，都在这一页里有了鲜活模样，让观者得以触碰到遥远岁月里，族群生活的温热脉搏。",[7,81,28,27,106,63,228,86675,2949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff75ff140cdc9f691b1da2c9e657832.jpg",[],{"id":93600,"slug":93601,"title":93602,"dynasty":76,"author":278,"museum":311,"description":93603,"tags":93604,"thumbUrl":93605,"material":88,"size":36362,"collection":139,"collections":93606,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215809,"miao-zu-yao-zu-sheng-huo-tu-ce-36-yi-ming-215809","苗族瑶族生活图册-36","画面铺展苗瑶先民的日常肌理：衣袂刺绣如跃动星河，靛蓝朱红交织山野炽热。田间身影弓成岁月弧度，竹筐作物坠着晨露清辉；檐下妇人指尖捻线，线轴转着四季轮回。孩童追蝶跑过青石板，银饰脆响落进风里。笔触不刻意雕琢，却把烟火气揉进每道线条——一碗酸汤的热气，腰间猎刀的冷光，每处细节低语族群与土地的羁绊。那些未经修饰的鲜活如山涧清泉淌过纸页，将遥远生活的温度递至眼前。劳作的坚韧、家常的温柔，凝作时光切片，让民族烟火与土地呼吸至今可触。",[7,23,24,81,27,106,81409,28,315,2950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c3e4824f02936e10435cb9771f8a964.jpg",[],{"id":93608,"slug":93609,"title":93610,"dynasty":76,"author":278,"museum":311,"description":93611,"tags":93612,"thumbUrl":93613,"material":88,"size":36362,"collection":139,"collections":93614,"showCount":48,"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