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创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,76,56,29,26,202,78,7,203,140,204,205,35,34,80],"白描","侍从","孤石","梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],39,{"id":210,"slug":211,"title":212,"dynasty":50,"author":180,"museum":122,"description":213,"tags":214,"thumbUrl":216,"material":129,"size":217,"collection":40,"collections":218,"showCount":208,"zanCount":193,"manualWeight":11,"mainColor":45},218799,"wu-kuan-shan-shui-yi-ming-218799","无款山水","本幅绘高士乘舟赴幽谷观瀑，清谈，山远地偏，谷深树茂，正是避世绝佳处。此幅树法笔墨近于李唐，而山石又掺以郭熙卷云皴，成画年代可上溯到南宋。",[23,24,75,27,55,31,7,215,34,35,155,28],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dddbf70d238823f6026d2c535d95f7e.jpg","28.9x54",[40],{"id":220,"slug":221,"title":222,"dynasty":18,"author":180,"museum":223,"description":224,"tags":225,"thumbUrl":227,"material":129,"size":84,"collection":131,"collections":228,"showCount":229,"zanCount":193,"manualWeight":11,"mainColor":45},219571,"tang-gao-shi-lu-lu-wang-xiang-yi-ming-219571","唐高士陆鲁望像","大英博物馆","长髯垂胸，面容沉静端方，眉眼敛着淡然神色，尽显林下高士的清雅从容。服饰层次分明，苔青色外袍晕染出沉稳古雅的质感，玄色缘边勾勒出规整形制，系带细节写实雅致，衬出人物简淡出尘的气度。\n\n画作设色古厚沉静，绢本底色晕染出岁月沉淀的温润质感，线条凝练含蓄，形神兼备地呈现出人物温雅疏旷的气质，尽显传统肖像画的写实功力，带着古雅端严的审美意趣，将这位高士超然世俗的风骨缓缓铺陈开来。",[23,24,76,78,56,29,26,226,7],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558c5168241beb3eccf8710b5db2e2ac.jpg",[131],36,{"id":231,"slug":232,"title":233,"dynasty":50,"author":234,"museum":72,"description":235,"tags":236,"thumbUrl":238,"material":82,"size":83,"collection":84,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":45},288431,"gao-shi-guan-pu-tu-ma-yuan-288431","高士观瀑图","马远","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[24,76,26,78,27,153,155,35,7,237,28],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd14d033ddc1a880a6b71d2fb206a1cf.jpg",[],32,{"id":242,"slug":243,"title":244,"dynasty":18,"author":245,"museum":72,"description":246,"tags":247,"thumbUrl":249,"material":82,"size":83,"collection":84,"collections":250,"showCount":12,"zanCount":193,"manualWeight":11,"mainColor":163},235050,"song-yin-gao-shi-shan-mian-chen-chun-235050","松荫高士扇面","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[75,24,76,248,55,93,95,108,7,204],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705e6386ea0a7e4dbbb79ddb32d9180e.jpg",[],{"id":252,"slug":253,"title":233,"dynasty":50,"author":234,"museum":72,"description":254,"tags":255,"thumbUrl":257,"material":82,"size":83,"collection":84,"collections":258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":163},289127,"gao-shi-guan-pu-tu-ma-yuan-289127","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[24,75,184,256,29,28,26,153,155,35,7,237],"人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22af0766a92228005907352af710c863.jpg",[],23,{"id":261,"slug":262,"title":263,"dynasty":50,"author":180,"museum":72,"description":264,"tags":265,"thumbUrl":268,"material":82,"size":83,"collection":84,"collections":269,"showCount":270,"zanCount":11,"manualWeight":11,"mainColor":45},290102,"zhu-lin-gao-shi-tu-yi-ming-290102","竹林高士图","该作品画面以竹石为主，还缀有点景人物。数竿修竹枝叶交错，折旋向背，姿态各异。近处危石嶙峋，突兀而起。依石傍竹，几丛野花绽放其间，一溪涧水蜿蜒而下。左下空旷之处，老翁坐对幽篁，似在吟咏，旁有童仆持杖而立。",[248,24,75,55,78,27,266,109,35,7,267,237],"竹林","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffccafbdc43f6b75f39c364486365e0d2.jpg",[],19,{"id":272,"slug":273,"title":274,"dynasty":168,"author":180,"museum":72,"description":275,"tags":276,"thumbUrl":278,"material":82,"size":83,"collection":84,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":45},290401,"gao-shi-dui-yi-tu-yi-ming-290401","高士对弈图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,184,78,153,35,277,26,7],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0549a9e17f0dc01002b5676b220cb0f.jpg",[],17,{"id":282,"slug":283,"title":284,"dynasty":50,"author":285,"museum":72,"description":286,"tags":287,"thumbUrl":293,"material":82,"size":83,"collection":84,"collections":294,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":45},288419,"zhang-song-shan-shui-tu-ma-lin-288419","长松山水图","马麟","由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。\n二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[75,24,76,27,288,289,290,79,7,95,55,28,291,292],"长松","山峦","明月","月夜","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32fd310c2f4d050fec2e4b45931b71b.jpg",[],{"id":296,"slug":297,"title":298,"dynasty":50,"author":299,"museum":122,"description":300,"tags":301,"thumbUrl":305,"material":60,"size":306,"collection":84,"collections":307,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":45},289928,"liu-yin-gao-shi-tu-wang-shen-289928","柳荫高士图","王诜","图中左边绘两颗高大的柳树。靠前的一颗古柳，树干虬曲，枝叶繁茂。主干向后歪曲，正适合人靠卧而坐。果然，树干上靠坐一翁，须发飘然，头戴葛巾，足穿草履。双目眺望溪水对岸的栖鸟，似凝神深思，又似神游天外。他的拐杖上挂一葫芦，歪靠在一旁的树干上。画面整体给人以悠远萧索之感。",[24,75,256,55,26,302,303,7,32,304,237],"柳树","柳荫","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d4d038064d028cd40a4765cd27fcd5e.jpg","纵29.4厘米，横29厘米",[],15,{"id":310,"slug":311,"title":298,"dynasty":50,"author":180,"museum":122,"description":312,"tags":313,"thumbUrl":315,"material":129,"size":316,"collection":84,"collections":317,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":45},290762,"liu-yin-gao-shi-tu-yi-ming-290762","故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[24,78,302,188,26,56,7,237,94,95,314],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cb5029386e1abd755f84882e4f3a3f5.jpg","纵29.4厘米,横29厘米",[],10,{"id":320,"slug":321,"title":322,"dynasty":323,"author":324,"museum":72,"description":325,"tags":326,"thumbUrl":328,"material":82,"size":83,"collection":84,"collections":329,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":45},231585,"shi-ting-shi-dai-gao-shi-tan-mei-shan-shui-tu-shou-ye-zheng-xin-231585","室町时代 高士探梅山水图","不详","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,76,26,29,28,27,78,7,327,153,35,157,109,32],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],7,{"id":332,"slug":333,"title":334,"dynasty":18,"author":180,"museum":72,"description":335,"tags":336,"thumbUrl":338,"material":82,"size":83,"collection":84,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":163},234479,"wu-ling-gu-mu-gao-shi-shan-yi-ming-234479","吴令古木高士扇","泥金扇面设色古雅，危岩虬松错落排布，古木蟠曲苍劲，苔点皴染出山石嶙峋质感，石青晕染湍流激浪，灵动鲜活。溪岸石台上，两位高士相对而坐，或执卷清谈，或凝思远眺，将文人隐逸林下的闲雅意趣融于尺幅之间。构图疏密相宜，简淡清逸的氛围里，尽显林泉高致的出世情怀，把丘壑雅兴刻画得淋漓尽致。",[24,248,26,29,28,337,7,35,58,32],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d51fbf0b6fed9724b479f90c68500b9.jpg",[],5,{"id":342,"slug":343,"title":344,"dynasty":148,"author":180,"museum":72,"description":345,"tags":346,"thumbUrl":350,"material":82,"size":83,"collection":84,"collections":351,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},269130,"zhu-gen-diao-song-xia-gao-shi-shan-zi-yi-ming-269130","竹根雕松下高士山子","依循竹根天然肌理随形施艺，层叠皴刻出嶙峋岩岫，古松虬枝盘绕于石隙，苍郁灵动，将山野意趣凝于寸尺之间。宽袍高士策杖立于幽隅，似在观山聆风，身影安然萧散。作品刀法藏露相宜，既留存竹材朴拙天然的质感，又以精细刀工勾勒松石纹理与人物意态，将文人寄情林泉的隐逸心境具象化，尽显工艺兼收自然意趣与匠思的精妙造诣。",[347,348,153,7,35,349],"雕刻","竹根雕","山子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e63ca0929e46589fe9dad900099a50b.jpg",[],{"id":353,"slug":354,"title":344,"dynasty":148,"author":180,"museum":72,"description":355,"tags":356,"thumbUrl":357,"material":82,"size":83,"collection":84,"collections":358,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},269127,"zhu-gen-diao-song-xia-gao-shi-shan-zi-yi-ming-269127","随形施艺，将盘结竹根的天然肌理巧作苍松怪石，层叠错落宛若烟霞萦林，兼具湖石的玲珑奇崛与古松的苍劲郁茂。\n\n下部隐刻高士雅聚，人物情态悠然舒展，或对坐清谈，或凝神观景，方寸之间藏尽山林幽趣。刀意隐于天趣，不事过度雕琢，将文人林下幽居的雅怀寄于竹根之上。朴拙古雅的质感里，尽显寄情林泉的逸致，把尘外之思凝为文房案头的清赏佳制，在小物间铺展出山水林下的澹然意趣。",[347,348,153,7,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287f48239dc301f4fbe2e610cab8dbdd.jpg",[],{"id":360,"slug":361,"title":362,"dynasty":148,"author":180,"museum":72,"description":363,"tags":364,"thumbUrl":367,"material":82,"size":83,"collection":84,"collections":368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},269121,"wu-zhi-fan-zhu-diao-song-yin-gao-shi-bi-tong-yi-ming-269121","吴之璠竹雕松荫高士笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[365,347,366,153,7],"竹雕","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e88217e0d4cd79908c34d3f9741f3b.jpg",[],{"id":370,"slug":371,"title":372,"dynasty":18,"author":180,"museum":72,"description":373,"tags":374,"thumbUrl":378,"material":82,"size":83,"collection":84,"collections":379,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},256441,"dou-cai-gao-shi-tu-bei-yi-ming-256441","斗彩高士图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[375,26,29,78,7,267,108,376,35,377],"斗彩","竹","陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517dda8434d108c4eb8b3a444f23c6fb.jpg",[],1777535716472]